f 
on 


i 
i 
i 


i 
+i 


ae ib et ante tae 
ay tie iettn 
Ce 


‘4 Nhat 
bib 


Ha 
i 
ih 


il 
oF 


He 
AN i 


if 
, 
i 


; 
ie t 

ieveetunieytt 
sith Wes 
Tateetel beeen 


serrate as 


ray 


kts 
Zi roe, 
whe ys = Sao 
ar Sica et 
iets : eS ee 
ry = mS peewee — ges ny t: ree 
ont vat bee ear 2 
eee iS SS oathe vine fetta Meek 
Soe i Bese SS =: 
: eevee a= | a - 3 
pence Bene a : 
Reet i rereaes = We: $5 vr 
Rows “ Sea - , : * mie 


ati 
ct ae 
eH 

iy 


veh He 


Pacant 
Perit Ht } 
Fass aE aty 
=Htahes tear fyi te 
paan staat 
Seth feet ppt 

‘ie i ud ibid 


} 
+ 


sh 
ua 
b 


Soe eee re 
Se Sea 


Sees 
oat ane 


iret 
ates 5 


1 
rf 


t " 
ih 


Bice setup og He mea tk 


=i 


esrore 


Tee 
Lr eh 
ype sehaatet ay 
Har afte 

Rest pert siete 


ae 
tag et iti Hit Ws 
en 


TG 
a 

ipaipaath 

in ent pe Die 
SUS Sea each seta toda ta eisteeh 
i Hb | Naha 


Mea ie) 


iu 
if 
} 


aes 


ae 


ai 
teal 


ee 


sy 
at 


vee 


De 


Srrunene ie 
Niet 


stata twice cam mae 
Sabie Se ia ee ae 


peas 5 


lace ae 
preety 
<p 


ts 


a 


a 
+ 


rs 
[3 


¥ sed 
: het ibe it 
Si EI a 
Ne 


be 


oct 
aise Te aw rewete 


ae 


o 
“ 
eke art 
ree 38 me 
b aaa =i 


as 


Perris 
sa 


thts aH ‘ Higa ; ie it i 
Hetbtini Cie ten fi yaaneaia tg 
sea Ai i ie ate Mae 


sists 


= oe = 


a 


x) 
ie 
paaeinoeet 


es 
tie 


rat 


ita 


eer 


~ 


se 


Be iter 
ine Piditine 
Geka 
: Hi 


eters Nast 


iy 


Sy Seago 
te 


Bit ens 


oi 


y 


te 


’ 
i ad 
x r 
i y » 
a 
' ea 
i . F 
sy 


ON PUBLIC EXHIBITION 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23rp STREET 


BEGINNING THURSDAY, JANUARY 13TH, 1916 
AND CONTINUING UNTIL THE TIME OF SALE 


ETCHINGS, ENGRAVINGS AND MEZZOTINTS 


BY OLD AND MODERN MASTERS 


COLORED PLATES AND WATER COLORS 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY ORDER OF ELIZABETH B. LEVY AND VARIOUS 
ESTATES AND OTHER OWNERS AS HEREIN DESIGNATED 


ON MONDAY, JANUARY 17th, 1916 
AT 3 O'CLOCK IN THE AFTERNOON AND 8.15 IN THE EVENING 
AT THE AMERICAN ART GALLERIES 


t 12 | 


a 


hal 1 
ro 
\ 
¥ 
‘ 
a 
: 
. 
> * 
‘ 
Es 
J 
. 
: ' 
- 
~ 
1 
sb 
* + 
“— 
H i 
oy 
t " 4 


HAIG, AXEL HERMAN 
Mont St. Michel 
(See No. 181) 


CATALOGUE OF 


ETCHINGS AND ENGRAVINGS 
COLORED PLATES AND WATER COLORS 


THE PROPERTY OF ELIZABETH B. LEVY AND 
OTHER OWNERS AS HEREIN DESIGNATED 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


ON MONDAY, JANUARY 17tTu, 1916 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY.AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK CITY 


STATEMENT AS TO OWNERSHIPS 


A PART OF AN EXTENSIVE COLLECTION comprises the following 
Lot Numbers,—1, 6, 9, 10; 33, 43, 44, 45, 46, 47, 49, 53, 70, 71, 74, 81, 82, 
89, 101, 127, 128, 129, 130, 138, 139, 140, 141, 143, 149, 152, 153, 154, 155, 
157, 159, 160, 161, 162, 164, 170, 181, 182, 183, 184, 185, 189, 194, 196, 197, 
198, 199, 200, 205, 213, 218, 219, 223, 224, 240, 241, 242, 255, 257, 278, 279, 
280, 287, 302, 3803, 312, 314, 323, 324, 328, 329, 332, 335, 336, 337, 338, 342, 
303, 397, 360, 361, 362, 366, 370, 376, 888, 3889, 391, 392, 396, 397, 400, 406, 
407, 414. 


FROM A GENTLEMAN’S COLLECTIONS are gold the following Lot 
Numbers,—2, 11, 16, 19, 48, 50, 59, 62, 63, 65, 69, 83, 84, 85, 86, 96, 102, 
166, 167, 168, 192, 195, 256, 275, 276, 277, 283, 284, 286, 346, 390, 394, 399, 
408, 409, 415. 


PART I. OF THE COLLECTION OF MRS. ELIZABETH B. LEVY, 
LARCHMONT, NEW YORK, comprises the following Lot Numbers,—3, 4, 
Pere, 015 04, 55,°56, 58, 60, 66, 75, 79, 80, 98, 103, 104, 105, 106, 
ee re e112; 113, 114, 116, 117, 118; 119, 120, 121, 122, 123, 
eee oy toed, a4, 130, 136, 137, 148, 156, 165, 187, 188, 202, 203, 214, 
BilieeU, eel. 240, 231; 232, 233, 248, 249, 250, 251, 252, 253, 254, 261, 262, 
204, 200, 200, 207, 208, 269, 270, 271, 272, 273, 274, 285, 306, 307, 308, 309, 
Pitot oto ol7, 520, 321, 322, 325, 826, 334, 339, 340, 341, 343, 344, 345, 
Batis. 604, 306, 359, 363, 364, 365, 373, 374, 375, 377, 378, 379, 380, 
S61, 382, 383, 384, 385, 403, 404, 412. 


THE PROPERTY OF A MERCHANT comprises the following Lot 
Numbers,—8, 17, 18, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 34,-35, 36, 
37, 38, 39, 40, 41, 42, 52, 57, 61, 72, 78, 91, 92, 93, 97, 126, 181, 142, 144, 145, 
146, 147, 193, 209, 210, 212, 215, 227, 228, 229, 234, 235, 243, 258, 260, 281, 
282, 305, 313, 318, 319, 327, 331, 333, 855, 358, 368, 386, 387, 395, 398, 405, 
A10, 413. 


THE PROPERTY OF A WESTERNER comprises the following Lot 
Numbers,—15, 67, 76, 77, 87, 88, 90, 94, 95, 150, 151, 158, 169, 186, 190, 191, 
204, 206, 207, 208, 211, 222, 225, 226, 236, 237, 238, 239, 244, 245, 246, 247, 
259, 263, 288, 289, 290, 291, 292, 293, 294, 295, 296, 297, 298, 299, 300, 301, 
304, 315, 330, 348, 349, 350, 367, 369, 372, 393, 401, 402, 411, 416, 417, 418, 
419. 


BY ORDER OF ATTORNEYS are sold the following Lot Numbers,— 
ee te ii 2, 173, 174, 175, 176, 177, 178, 179, 180. 


BY ORDER OF EXECUTORS are sold the following Lot Numbers—5, 7, 
63,79, 99, 100, 115, 216. 


THE PROPERTY OF A GENTLEMAN comprises the Lot Number,— 
163. | | 


BY ORDER OF AN ATTORNEY is sold the Lot Number,—371. 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to aftect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

3. Payment shall be made of all-or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 


4, Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


AT THE AMERICAN ART GALLERIES 
Madison Square South, New York 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS 
COLLECTORS AND ESTATES AS HEREIN DESIGNATED 


First Session, Numbers 1 to 205, inclusive 


MONDAY AFTERNOON, JANUARY 17TH, AT 3:00 O’°CLOCK 


ADAMS, FRANCIS EDWARD 


1. AIR. Mezzotint after Raoux. Smith I. p. 2, No. 4. Possibly 
the companion of “Earth, and Water” by Spooner. Fine | 
impression with margin. <A tear carefully repaired. 


(ADAMS, JOHN] 


2. PORTRAIT. Three quarter length, seated, right hand resting 
on table, left hand holding a paper. Line engraving. Cut 
to the border and laid down. 


ALDEGREVER, HEINRICH 


3. SUSANNAH ACCUSED OF ADULTERY; THE ELDERS 
ARE FOUND GUILTY OF PERJURY ; THE ELDERS 
STONED BY THE PEOPLE; FROM THE “HIS- 
TORY OF SUSANNAH.” Bartsch VIII., 31, 32, 33. 
From the Galichon and Robert Hoe collections. (3.) 


4. BATHSHEBA. Bartsch VIII., 37; RHEA SYLVIA. Bartsch 
VIII., 66; MUTIUS SCAEVOLA. Bartsch VIII., 69. 
Three interesting plates (3.) 


5. HANNIBAL AND SCIPIO. Original engraving. Bartsch, 
71. ! 


First Session, Monday Afternoon, January 17th 


[ALDWORTH, THE HONORABLE MRS. ] 


6. “THE LADY FREEMASON.” Mentioned in the list of sub- 
scribers to the “Constitutions” published 1744. Mezzo- 
tint, published 1811 by S. Cox. 


ALIAMET, J. 


7. GARDE AVANCEE DE UHLANS, engraved after the paint- 
ing by Wouverman, with landscape engraving by Le Bas 
and J. Smillie; BAADER, AMELIA. Portrait of a Lady, 
after Becker, and four other etchings. (8.) 


ALLEGORY OF AMERICA 
8. STIPPLE by Joseph Strutt after R. E. Pine. Open letter 


proof in red. Laid down. 


9. AMERICA. A Nude Woman with Bow in one hand and a 
Battle Axe in the other, seated on an Armadillo. Laine 
engraving. “C. J. Visscher excudebat.” Laid down. 


[AMERICAN HISTORIANS] 


10. MEETING of the New York Historical Society. Engraving 
in mixed manner by T. Doney after the drawings from 
life by J. Gollmann; with key. 


[ANDRE, MAJOR JOHN] 


11. PORTRAIT. Line engraving by Cook after a drawing by 
Dood, from Reynolds’ “History of England.” Fine im- 
pression with full margin. 


First Session, Monday Afternoon, January 17th 


AUDRAN, JEAN 


12. JEAN D’ESTREES, ABBE OF VROU, LATER ARCH- 
BISHOP OF CAMBRAI. Engraved about 1699 after 
H. Rigaud. LeBlanc IL, 358. First state; before the 
order of the St. Esprit. Fine impression on paper with 
the watermark “House.” Good margin. 


138. ANOTHER IMPRESSION of the same. Good margin. 


14. FRANCOIS ROBERT SECOUSSE. Three quarter length, 
seated. After H. Rigaud. Le Blanc I., 372. 


BAKER, G. 
15. LUDLOW CHURCH. Painter-etching. Proof on etching 
paper. 


[BALTIMORE, MARYLAND] 


16. NORTHWEST VIEW. Colored lithograph by Deroy after A. 
Kollner, printed by Cattier. 


BARTOLOZZI, FRANCESCO; AND HIS SCHOOL 


17. NYMPHS BATHING. Stipple after G. B. Cipriani. Tuer 
1536. Open letter proof in brownish black. 


18. VENUS (supposed portrait of Lady Hamilton) SUR- 
ROUNDED BY CUPIDS. Stipple after G. B. Cipriani. 


Tuer, 1608. Fine impression in brown with large margin. 


19. WILLIAM COBBETT. Stipple after J. R. Smith. Tuer, 
1766. Trial proof, printed in brown. 


20. BRENNUS LEVYING CONTRIBUTIONS IN ROME. 
Etching after Seb. Ricci. Full margins. 


First Session, Monday Afternoon, January 17th 


BARTOLOZZI, F.; AND HIS SCHOOL. (Continued) 


21. FAITH. Stipple after G. B. Cipriani. Tuer, 32. Proof be- 
fore the title, printed in red; RELIGION. Stipple after 
A. Kauffmann. Tuer, 2036, printed in red. Beautiful 


pair. (2.) 


22. HISTORY>—Tuer, 62; POETRY, Tuer, 98; DRAWING, 
Not mentioned by Tuer. All stipples after G. B. Cip- 
riani. Proofs before the titles, except POETRY, which 
is proof before all letters. ‘The three printed in brown 
and in fine condition. (3.) 


23. CELADON AND AMELIA. Stipple after W. Hamilton. 
Tuer, 209. Printed on India paper; THE LAST JUDG- 
MENT. Line engraving after Michel Angelo. (2.) 


24. LORD HAWKE. Stipple after Coates. ~Tuer, 309. From 


“Biographia Navalis.” 


25. BRITANNIA WARDING OFF TIME. Allegorical frontis- 
piece to the Second Volume of the Marlborough Gems. 
Line engraving after G. B. Cipriani. Tuer, 630; A VES- 
TAL VIRGIN. Original stipple by Bartolozzi printed 
in red; SPRING. Stipple after W. Hamilton. Printed 
on India paper. \ (3.) 


26. JOAN OF FLANDERS ASSEMBLING THE INHABI- 
TANTS OF RENNES. Stipple after J. F. Rigaud. 
Tuer, 1225. Printed in brown; ORLANDO RESCUES 
OLYMPIA. Line engraving after Annibale Carracci. 


(2.) 


27. A NAKED VENUS ASLEEP. Stipple after Annibale Car- 
racci. ‘Tuer, 1398. Proof before the title, printed in 
brown, waterstained on margin. 


28. BACCHANALIAN CHILDREN;; one of them mounted on a 
goat. Line engraving after M. Franceschini. Tuer, 1416. 
Printed in reddish brown; THREE ETCHINGS after a 
drawing by Guercino da Cento. ( 4.) 


First Session, Monday Afternoon, January 17th 


BARTOLOZZI, F.; AND HIS SCHOOL. (Continued) 


Zo; 


30. 


31, 


32. 


33. 


34. 


35. 


36. 


CUPID DRAWING THE ATTENTION OF A WOMAN 
WHO IS SITTING ON A ROCK. Line engraving after 
G. B. Cipriani. Tuer, 1445. Full margin; JUDGMENT 
OF PARIS. Line engraving after drawing by E. F. 
Burney from an ancient picture found in the ruins of 
Herculanum, supposed to be by Apelles. Tuer, 1500. 
Proof before all letters. Large margin. (25) 


MARY WITH THE SLEEPING INFANT JESUS. Line 
engraving after Sasso Ferrato. Tuer, 2024; MOTHER 
AND CHILD. Line engraving after G. B. Cipriani. 
Tuer, 2026. (2.) 


DEATH OF LORD CHATHAM. Line engraving after J. 
S. Copley. Andresen I. page 78, No. 17. Unfinished 


trial proof with tears in the margin 


CONTEMPLATION. Stipple after G. B. Cipriani. Printed 
in brown; VENUS AND CUPID. Stipple after-G. B. 
Cipriani. Printed in brown, cut out and laid down; 
SLEEPING CHILD. Line engraving after Elisabetta 


Sirani. Printed in reddish brown; large margins. (3.) 


LADY BERKELY. Stipple after H. Holbein. Tuer No. 
441. Proof before all letters in brown, with full margin. 


LAEUS, (Lais?). Stipple after G. B. Cipriani. 1786. Open 


letter proof printed in brown. 


THE PIOUS FAMILY ASCENDING TO GLORY. Stipple 
after Wm. Hamilton, beautifully printed in colors. 


NYMPHS AND SATYR; PLEASURE. Stipples by Mariano 
Bori after G. B. Cipriani. Printed in brown. A fine pair 
with margin. (2.) 


First Session, Monday Afternoon, January 17th 


BARTOLOZZI, F.; AND HIS SCHOOL. (Continued) 


37. 


38. 


39. 


40. 


Al. 


42. 


43. 


AA, 


CUPID UNVEILING VENUS. Stipple by A. Cardon after 
Richard Cosway. Printed in brown. Folio, with large 
margin. 


MEDITATION. Stipple by J. B. Michel after A. Kauff- 
mann. Printed in black. Inlaid; THE BATTLE BE- 
TWEEN CENTAURS AND LAPITHAE. Rouletted 
etching by W. W. Ryland, after a drawing by P. del 
Vega. (2.) 


CLEOPATRA PLACING FLOWERS ON URN CONTAIN- 
ING THE ASHES OF MARC ANTHONY.  Stipple 
by W. W. Ryland after A. Kauffmann. Proof before 
letters in red. Very fine. 


CLIO; TERPSICHORE. Stipples by W. W. Ryland after 
G. B. Cipriani. Proof before letters, printed in red. 
Ovals with margins. <A very fine pair. (2.) 


ALLEGORICAL TRANSPARENCY EXHIBITED AT 
THE BANK OF ENGLAND IN CELEBRATION OF 
THE RECOVERY OF KING GEORGE III. Stipple 
by P. W. Tomkins after W. Hamilton. Printed in brown; 
cut at the top. 


CUPIDON SE REFRAICHE. Stipple by A. van Assen after 
the antique. Printed in black; large margin; TICKET 
FOR “NEW MUSICAL FUND.” Stipple. Printed in 
brown. No margin; CHILDREN FEEDING CHICK- 
ENS. Stipple by J. M. Delatre after W. Hamilton. 
Printed in red. No margin. (3.) 


PRUDENCE AND BEAUTY. Stipple by Mariano Bovi after 


Leonardo da Vinci. Fine impression printed in colors. 


PRINCESS CHARLOTTE OF WALES. Stipple by Henry 
Meyer after Alfred Chalon. Open letter proof with big 
margin. 


First Session, Monday Afternoon, January 17th 


BARTOLOZZI, F.; AND HIS SCHOOL. (Continued) 


45. MRS. JORDAN, in the Character of the Country Girl. Stip- 
ple by John Ogborne after George Romney. Printed in 
black. 


46. LINGO AND COWSLIP. Stipple by Edmund Scott after 
H. Singleton. Open letter proof in brown. Very fine. 


47. MISS DECAMP, in the Character of Urania. Stipple by J. 


Vendramini after P. Jean. Fine impression with full mar- 


gin. 


BARTSCH, ADAM 


48. STUDIES FROM NATURE. Etchings after Christian 
Brand; APOLLO; CUPID AND PSYCHE. Lime engrav- 
ings by Niquet after the antique; THE ADORATION 
OF THE SHEPHERDS. Line engraving by J. Sadeler. 
Laid down. (Le 


BAUER, W. C. (American Etcher) 


49. WINDMILL BY THE SEA. Etching after Louis K. Har- 
low. Remarque proof on India paper, signed by both 
artists. 


BAXTER, G. 


50. THE GREAT EXHIBITION. Exterior and interior. Color 
prints in oil colors. The first one browned; THE 
CHERRY SELLER. Color print by Le Blond and Co. 
All on the original mounts. (3.) 


BEAUFRERE, P. 
51. JEAN-BAPTISTE COLBERT. Engraved 1678. Good old 


impression. Closely trimmed. 


First Session, Monday Afternoon, January 17th 


BEAUVARLET, JACQUES FIRMIN 
52. L,ENLEVEMENT DES SABINES. Line engraving after 
Luca Giordano. Andresen I. p. 86, No. 8. Inlaid; LA 
MORT D’ANDOINS. Line engraving by Jacques Jean 
Pasquier after G. Briard. Andresen II. p. 261, No. 3. 
Full margin, but waterstained and a small tear in the 
right margin repaired. oe 629) 


53. LES ENFANTS DU DUC DE BETHUNE. Line engray- 
ing after F. H. Drouais. Portalis and Beraldi I. pp. 
145746, No. 27. Very fine. 


BEHAM, HANS SEBALD 


54. CIMON AND PERA. 1544. Pauli, 79. ‘Third state, with 
the vertical lines back of the head of Cimon. Very fine 
old impression, but closely trimmed. 


55. FIGHT BETWEEN THREE MEN. Pauli, 97. Second 
state. Before the vertical set of lines on the shin bone of 
the man on foot. Fine old impression, folded twice and 
closely trimmed. 


56. HERCULES AND IOLE. 1544. Paul, 107. Second state. 
Before dots covering all light spots of the ground. Fine 
old impression, but creased in two places. 


BELLIN, SAMUEL 


57. JAMES WILLIAM MASSIF, D.D. Mezzotint after P. 
Westcott. Proof on plain paper. 


BINK, JACOB 
58. PORTRAIT OF HIMSELF. Bartsch VIII., 95. Interest- 


ing plate. Fine impression, but not very clean and a 
trifle repaired along the left edge. 


First Session, Monday Afternoon, January 17th 


BLAYNEY, CADWALLADER L. 


59. PORTRAIT. Mezzotint by an unknown engraver, in the 
style of Dixon. Smith IV. pp. 1719/20, No. 25. First 
state. Very fine, with full margins. 


BLOEMART, CORNELIS 


60. EMPEROR FERDINAND II after J. Bichi; EMPEROR 
FERDINAND IV, engraved by P. Lisebetten; MARTIN 
VOLCKAMER; Army Paymaster, engraved by Sebastian 
Furck; JOHANN POSTH, engraved by Theo. de Bry; 
EMPEROR CHARLES VII, engraved by P. Tanjé after 
G. de Marris; ANTONIO CARRACCI, engraved by F. 
Spier; GODOFREDUS DE JENA, engraved by Bernige- 
roth; NICOLO MACHIAVELLI, engraved by F. Moril- 
lon de la Care; D. GEORGE A. SCHUBERT, engraved 
by Bernigeroth after Freund; COSMUS III, engraved by 
G. M. Preisler after Campiglia. (10.) 


BONHEUR, ROSA 


61. CHIEN DE CHASSE, (On the scent). Engraving in mixed. 
manner by Joseph B. Pratt. Artists’ proof on India 
paper, signed by both artists. Slightly foxed. 


[BOSTON, MASSACHUSETTS] 


62. VUE DE LA RUE DU ROY VERS LA PORTE DE LA 
CAMPAGNE. Engraved by Francois Habermann. Old 


colored. 


63. VUE DE LA RUE ET DE LA MAISON DE VILLE A BOS- 
TON. Engraved by Francois Habermann. Old colored. 


BOUGHTON, GEORGE H. 
64. THE WEEDERS OF THE PAVEMENT. Signed artists’ 


proof. Photogravure. 


First Session, Monday Afternoon, January 17th 


BOUTELOU (DEAF-MUTE) 


65. LE MARECHAL TURENNE. Line engraving. After the 
model of Dardet. Proof before all letters, having only the 
vignette in the centre of the lower margin. Very rare. 


66. ANOTHER COPY of Same, with Title. Line engraving. After 
the model by Dardet. Rare. 


BROMLEY, CLOUGH 
67. NOVEMBER LANDSCAPE. Original etching. Signed 


proof on Creswick paper. 


BROWN, G. L. 


68. STUDY OF A LADY STANDING, original drawing by G. 
L. Brown, signed; with drawing, “STUDY NEAR CRAY 
MILLERS,” signed by F. A. Robinson, 1836. (2.) 


BUNBURY, SIR HENRY 


69. PEASANTS OF THE VALE OF LANGOLLEN. Stipples 
by J. Baldrey. Proofs with the inscriptions in stipple, 
printed in brown. (2.) 


BUONAFEDE, GIOVANNI 


70. THE DISPUTA. Line engraving after Raphael. Apell p. 
78, No. 9. Remarque proof on India paper. Very fine. 


CALAMATTA, LUIGI 


71. FRANCOISE DE RIMINI. Line engraving after Ary Schef- 


fer. Apell p. 82, No. 4. Third state. Printed on India 
paper, with the artist’s dry-stamp. Very fine. 


First Session, Monday Afternoon, January 17th 


CALLOT, JACQUES 


72. TEMPTATION OF ST. ANTHONY. Original etching. 
Meaume, 139. 


CAMERON, DAVID YOUNG 


73. SKETCH ON THE TAY. Original dry-point. Rinder, 404. 
Signed artist’s proof. 


CAROCCI, GIUSTINO 


74. INCENDIO DI BORGO. Line engraving after Raphael. 
Apell p. 87, No. 8. Remarque proof on India paper. 
Very fine. 


CARS, JEAN FRANCOIS 


75. CHARLES LE GOUX DE LA BERCHERE, Archbishop of 
Albi. Engraved 1702. Good old impression on paper 


with the watermark “House.” Closely trimmed. 


CHANLER, ALBERT 


76. CHELSEA BRIDGE. Painter-etching. Signed proof. No. 
1, on Japanese paper. 


77. COVENTRY COURTYARD. Painter-etching. Signed proof 
No. 5, on thin Japanese paper. 


CHARON. 


78. MARIE LOUISE, on horseback. Line engraving and stipple 
after Mottet. Rare. 


First Session, Monday Afternoon, January 17th 


CHEREAU, FRANCOIS 


79. LOUIS PECOUR, BALLET MASTER, after R. Tourniere. 
Full half-length. Second state. Le Blane IIL., 34. 


80. DR. EUSEBIUS RENAUDOT, Orientalist, 1646-1720. 
Three quarter length seated, after I. Rance. Second state. 
Le Blanc IL. 38. 


CLAESSENS, LAMBERTUS ANTONIUS 


81. LA BENEDICTION DE JACOB. Etching finished with the 
burin after Ph. de Koninck. Andresen I. p. 273, No. 1. 


CLINT, GEORGE 


82. FIELD MARSHAL DUKE OF WELLINGTON, K.G., K.B. 
Mezzotint after John Hoppner. Very fine, but closely 
trimmed. 


COLORED PRINTS 


83. HAMLET. Etching. Metz, del. Ansel & Stadler, sculpt. 
Matted. London: Published by W. Holland, October, 
1809. 


84. “COME LASSES & LADS.” Etching by H. Bunbury. With 
4 verses of 8 lines each. Narrow folio. [London, circa 
1810] 


85. ANABAPTIST CEREMONY IN N. AMERICA. J. Mil- 
bert, Del. M. Dubourg, Sculp. In old black frame. Lon- 
don: Published, March 1, 1819. Shows an immersion in a 
river, figures on bank, &e. 


86. THE YANKEE TORPEDO. Etching. Matted. London: 
By Thomas Tegg, n.d. America is represented by the 
head of a dragon, with figure of imp holding the Stars 
and Stripes, John Bull aboard a ship, figure of death in 
background. 


First Session, Monday Afternoon, January 17th 


COLORED PRINTS. (Continued) 


87. ALMERIA. BLACK, BROWN AND FAIR. Both after J. 
R. Smith. (2.) 


88. CHRISTMAS GAMBOLS; THE MISSES HART; SNAKE 
IN THE GRASS. All after J. R. Smith. (3.) 


[COLUMBUS, CHRISTOPHER] 


89. PORTRAIT OF COLUMBUS. Etching by Leopold Flameng. 
Proof on India paper. 


COSGROVE, G. S. 


90. ILLUSTRATIONS TO GOLDSMITH’S “DESERTED 
VILLAGE.” Painter-etching. Proof on India paper. 
From the John T. Wilson collection. 


COURTY, CHARLES 
91. ACAVALIER. Etching after J. L. E. Meissonier. Remarque 


proof on vellum, signed by the etcher. 


92. MILTON DICTATING HIS PARADISE LOST. Etching 
after M. Munkacsy. Remarque proof on Japanese paper, 
signed by both artists. 


COUSINS, SAMUEL 


93. THE STRAWBERRY GIRL. Mezzotint after Sir Joshua 
Reynolds. Artist’s proof on India paper signed by the 
engraver. Margins slightly foxed. Very fine. 


CRESWICK, THOMAS 


94, ILLUSTRATION TO GRAY’S “ELEGY.” Painter-etching. 
Proof on India paper. From the John T. Wilson col- 


lection. 


First Session, Monday Afternoon, January 17th 


CRESWICK, THOMAS. (Continued) 


95. ILLUSTRATIONS TO SHAKESPEARE’S “AS YOU LIKE 
IT.” Painter-etching. Proof on India paper. From 
the John T. Wilson collection. 


DARLEY, FELIX O. C. 


96. ILLUSTRATION TO “EVANGELINE.” THE PARTING 
OF THE LOVERS. Pencil drawing. 


DELAUNAY, ALFRED ALEXANDRE 


97. THREE LANDSCAPES; Painter-etchings. From “Suite de 
paysages d’apres nature, graves de 1868 4 1880.” H. Be- 
raldi V. p. 176, Nos. 41-62. Proofs on India paper. 


(3. ) 


DELFF, WILLEM JACOBSZOON 


98. PETRUS MORAEUS. PASTOR OF THE WALLOON 
CHURCH AT GAND, IN THE HAAGUE AT DELFT 
AND AT ROTTERDAM. Line engraving. Franken, 
48. Only one state. Early impression on paper with an 
indistinct water-mark. Closely trimmed. One of the en- 
graver’s earliest works. From the P. Mariette, S. K. and 
W. 5S. collections; JOHAN VON OLDENBARNEVELD, 
STATESMAN. Rendered great service to the Dutch Re- 
public after the death of William of Orange. Political 
adversary of Prince Maurice. Accused and tried for High 
treason and beheaded in 1619. Line engraving after 
Miereveld. Franken, 54. One state only. Early impres- 
sion, closely trimmed and a corner repaired. (2.) 


DELFOS, A. 


99. A WATER SCENE. Drawn in pencil, after the painting by 
3 Ivan Goyen; Also a sketch in pencil and wash drawing 
of a Tree by a River’s Bank, by Hoffermans. (23) 


First Session, Monday Afternoon. January 17th 


DEL SARTO, ANDREA 
100. STUDY WITH SAINT AND ANGEL. Attributed to An- 


drea del Sarto. Torn in upper left hand corner. Signed 
on back, with crayon figure study and a facsimile of a 
Barocci; DIETRICY. Oricryat Ercutne, with three 
other pieces. (is) 


DE MARE, T. 


101. PORTRAIT OF HENRY M. STANLEY. Etching after 
Geo. P. A. Healy. Artists’ proof on vellum paper, signed 
by both artists and by Stanley. 


DREVET, PIERRE 


102. CHARLES II. Line engraving after Van der Werff. F. Di- 
dot, 12. Only one state. Also thirteen other portraits by 
various engravers, mostly inlaid for Extra-Illustrating. 


(14.) 


103. JACQUES NICOLAS COLBERT (1654-1707), ARCH- 
BISHOP OF ROUEN. Engraved 1699. After H. Ri- 
gaud. F. Didot p. 24/25. No. 33. First state before the 


dedication. No margin. Very rare. 


DURER, ALBRECHT 


104. ADAM AND EVE. 1504. Bartsch VII., 1. Second state-* 
One_o i 


é engiayer’s SR SUS Regi on. ac- 
count of imperfections, and retouched. 


105. ST. ANN AND THE VIRGIN. Prior to 1500. Bartsch VIL., 
29. Fine and clear impression with a small margin. From 
- the Fountaine Walker and Count von Lanna collections. 


106. THE VIRGIN NURSING THE CHILD. 1519. Bartsch 


VII., 36. Very fine impression, closely trimmed. ~& ~U~-~ ap FS 
: ; a — 


we aa ‘ 


- 


: ‘ 
‘- le 


First Session, Monday Afternoon, January 17th 


DURER, ALBRECHT. 
107. THE VIRGIN 


108. 
109. 
TAO: 
ae 
ie) 
111. 
re 
ee 
eee ie 
nee 
‘ae ‘ 
Its: 
(o, 
9 Pe: 
As [3 
: 114 


SL. 


le 


ST. 


(Continued ) 


AND CHILD WITH THE MONKEY. 
Prior to 1508. Bartsch VIL, 42. Good impression with a 
slight imperfection in the sky near the right corner and a 
wormhole. The paper is skinned on the back in several 


places. 


GEORGE STANDING. About 1508. Bartsch VIL, 58. 
Very good old impression, closely trimmed. 


SEBASTIAN TIED TO A COLUMN. Prior to 1497. 
Bartsch VII., 56. Very good old impression, the slip of 


the graver on the hair being still very strong. No mar- 


gin. 


EUSTACE, also called “ST. HUBERT.” About 1509. 
Bartsch VII., 57. Good, old impression on paper with 
watermark “eagle,” a variation of Hausmann No. 17. 
Slight defects along the edges repaired. With a small 
margin. 


. JEROME IN PENANCE. Prior to 1495. Bartsch VI., 


61. Very fine, old impression, on paper with the water- 
mark “Two towers,” Hausmann No. 8. No margin, but 
otherwise in very good condition. 


THE PENANCE OF ST. JOHN CHRYSOSTOM, also called 


Prior to 1495. Bartsch VILI., 63. 
No margin. 


“ST. GENEVIEVE.” 


Clear but dry impression. 


THE WITCH. About 1507. Bartsch VII., 67. Fine clear 


. THE SATYR AND HIS FAMILY. 


impression. Laid down on account of several thin places 
in the paper. A very small margin. 


1505. Bartsch VILI., 


69. Fine, clear impression with 1.5 mm. margin. 


115. THE GREAT FORTUNE. Original engraving. Bartsch 


bit bra 


DURER, ALBRECHT. 


. 2 


are 


. THE LITTLE COURIER. Prior to 1495. 


. THE TURKISH FAMILY. 


. THE PROMENADE. About 1495. Bartsch VIL., 94. 


. THE LITTLE HORSE. 


First Session, Monday Afternoon, January 17th 


(Continued ) 
MELAN HOLY. 1514, Bartsch VIL. 
ie n of mediwm quality. 
even margin. 


JUSTICE. Prior to 1503. Bartsch VII., 79. Very good im- 
pression, clipped on the sides and remargined. The upper 
part is skilfully repaired. 


14. Ver 


Bartsch VII., 80. 
Very fine impression with a small margin and the paper 
in good condition. The print bears the stamps of three 
unidentified collections. From the E. F. Oppermann col- 
lection. 


. THE LADY AND THE LANSQUENET. About 1496. 


Bartsch VII., 82. Good old impression, but much mended 
and retouched. 


Prior to 1495. Bartsch VIL, 


85. Fine, strong impression with a small margin. 


Good 
medium impression on paper with a coat-of-arms not 
mentioned by Hausmann. In perfect condition and with 
margin of 3mm. 


. THE MONSTROUS PIG. About 1496. Bartsch VII., 95. 


Early impression on paper with the watermark ‘High 
Crown,’”’ Hausmann, No. 21. This fine print is closely 
trimmed and repaired in several places. 


1505. Bartsch VII., 96. Very 
good, medium impression on paper with the watermark 
“Two Towers,” a slight variation of Hausmann, No. 23. 
In good condition and with small margin. 


First Session, Monday Afternoon, January 17th 


DURER, ALBRECHT. (Continued) 


124. KNIGHT, DEATH AND THE DEVIL. 1513. Bartsch 

Py, VIL, 98. Good impression of medium quality on paper 

abe with a watermark resembling a small crown and a double 
ae eagle below it; not mentioned by Hausmann. 


125. EMPEROR MAXIMILLIAN, [WITHOUT BORDER]. 
1519. Bartsch VII., 154. The block with the “ae” fol- 
gos? lowing the “C” in the word “Caesar.” Very good, medium 
os impression, on paper with the watermark “Coat of Arms 
of the Palatinat,” not mentioned by Hausmann. Pieces 
of white paper have been replaced on the right and left 

sides of the face. 


EKARLOM, RICHARD 


126. MELEAGER AND ATALANTA. Mezzotint after P. P. 
se Rubens. Wessely, 81. Second state. Waterstained and 
laid down on account of imperfections. 


127. A GAME MARKET. Mezzotint after F. Snyders. Wessely 
2 p- 44, No. 109. First state a very fine proof, with the 
peaea aaa oie coat-of-arms only. Inlaid. 


128. A FISHMARKET. Mezzotint after F. Snyders. Wessely 

p- 45, No. 112. First state, a very fine impression and 

et, without doubt a proof, but cut down to the printed sur- 
face and inlaid. 


—o 129. THE LARDER. Mezzotint after M. de Vos. Wessely p. 

45, No. 118. Second state, with the full inscription, but 

oa . . . . . 

LS before the retouch. Fine impression with margin. 


130. A FLOWER PIECE.—A FRUIT PIECE. Mezzotints after 

J. van Hysum. The engraver’s most celebrated plates. 

0 Wessely pp. 5657, Nos. 144-145. Third states, with the 
oh) re ees full inscription but before the retouch. A fine pair with 
sf | margins. Rare. From the George D. Morgan collection. 


(2.) 


First Session, Monday Afternoon, January 17th 


EDELINCK, GERARD 


1381. CHARLES D’HOZIER, after H. Rigaud. Robert-Dumesnii 
) 7 VIT., 184. Only one state. 


1382. HENDRICK GOLTZIUS, painter and famous engraver. 
ome Robert-Dumesnil VII., 216. Third state; with the in- 


ie, 
2 or scription. 


1338. GERBRAND VAN LEEUWEN, Professor of Theology in 

\ Amsterdam. Engraved after Arnould Boonen. Robert- 

Pe Dumesnil VII., 239. Third state, the painter’s name has 

. been burnished out. Very good impression on paper with 
the watermark ‘‘Fleur-de-lis.” No margin. 


134. MICHEL LE TELLIER, Chancellor of France, after F. 

Vouet. Robert-Dumesnil VIL, 243. Only one state 

os known; MATHIEN SAVORY, Bishop of Séez. After 

| ge Ferdinand Jr. 1688. Robert-Dumesnil VII., 315. Only 

Lt one state known. Large margin. From the F. Rumpf 

( collection. It also bears the stamp of another collec- 
tion, possibly a Russian. (2.) 


185. LOUIS XIV, King of France after C. Le Brun. Engraved 
on two plates, known under the title: “The Triumph of 
the Church” or “The Extirpation of Calvinism.” Robert- 


i=) 
i Dumesnil VII., 258. First state, before the portrait of the 
King was replaced by a coat-of-arms. From the Louis 
Galichon collection. (2.) 


136. JEAN ROUILLE, COMTE DE MESLAY; Counsellor of 
State. Engraved after a painting by R. Nanteuil. Rob- 


~» ert-Dumesnil VII., 278. Only one state known. Fine 
ee ; impression on paper with the watermark “House.” No 
R ae margin. 


137. PIERRE DE MONTARSIS, Amateur and Collector. En- 

graved 1692 after A. Coypel. Robert-Dumesnil VIL., 277. 

— Second state; the corners of the plate have been rounded 

4 off. Fine impression, with big margin. From the John 
: W. Nahl collection. 


First Session, Monday Afternoon, January 17th 


FABER, JUN., JOHN 


188. MUSICIAN. Mezzotint after Ph. Mercier. Smith L. p. 457, 
No. 410. Fine, but no margin and laid down. 


139. THE STUDIOUS FAIR, (Mrs. M. Woffington). Mezzotint 

3 after H. Pickering. Smith IV. add. and corr. p. 447, No. 

Bras 393. Fourth state, the publisher’s name is changed to 
John Ryall. 


‘ 140. MOLLY. (Hannah, Mercier’s maid.) Mezzotint after Ph. 

a Mercier. Smith IV. add. and corr. p. 459, No. 416a. 
First state, before the date was changed to 1756. Full 
margin. Fine and rare. 


FAED, JAMES 


on 141. SIR WALTER SCOTT AND HIS LITERARY FRIENDS 
aes AT ABBOTSFORD. Engraving in mixed manner after 
Thos. Faed. Fine impression with key. 


FINLAYSON, JOHN 


. 142. GERTRUDE VISCOUNTESS VILLIERS: [Daughter of 
Re, Francis Earl of Hertford]. Mezzotint after F. Calze. 
) (> - Smith II. p. 484, No. 17. Second state; full margin. | 


FISHER, EDWARD 


148. LAURENCE STERNE, A. M. Mezzotint after Josh. Rey- 
nolds. Smith II. p. 506, No. 56. ‘Third state. Small 


margin. 


ee 
\\ 


FLAMENG, LEOPOLD 


. 144, THE DEFENSE OF RORKE’S DRIFT. Etching after Al- 
phonse de Neuville. Second state; artist’s proof on India 
paper, signed by both artists. 


Lsx 


First Session, Monday Afternoon, January 17th 


145. LORD GROLIER AT THE HOUSE OF ALDUS. Etching 
- after the painting by Francois Flameng owned by the Gro- 
ij : lier Club in New York City. Remarque proof on Jap- 
anese paper, signed by both artists. The remarque in a 
fac-simile of the seal of the Grolier Club. 


Ps? 7 146. ANOTHER IMPRESSION of the same. 


FORSTER, FRANCOIS 


147. LES TROIS GRACES. Line engraving after Raphael. Apell 
p- 157, No. 12. Third state, before the retouch and with 
A. Hauser’s address; DEATH OF LUCRETIA, Line en- 


ve graving after G. Reni. Proof before all letters, with the 
| coat-of-arms only. Full margin; VENUS. Engraving 
by D. J. Pound after Titian. (3.) 


148. FRANCOIS Ier et CHARLES-QUINT, visitant les tombeaux 
ee des rois de France a St. Denis. (15389.) Line engraving 
s after Gros. Apell p. 157, No. 14, with the artist’s stamp. 


FRYE, THOMAS 


149. YOUNG GIRL, FEATHER IN FRONT OF HAIR. From 
a the life-sized heads. Mezzotint. Smith II. p. 520. No. 
A is : : 
a 10. Very fine proof with margin. 


FULLWOOD, JOHN 
iy 150. THE FORD. Painter-etching. Proof on thin laid paper. 
“s 151. SUNSET ON THE THAMES. Painter-etching. Signed 


proof on thin Japanese paper. 


GAILLARD, FERDINAND 


fs 152. OEDIPUS. Engraving after Ingres. Beraldi V. pp. 2007201, 
: No. 24. Print on India paper. 


153. L-HOMME A L’GQEILLET. Engraving after Van Eyck. Ber- 
\ aldi V. p. 201, No. 25. Print on India paper, before 
the size of the plate was reduced. Very fine. 


oe 


e 


First Session, Monday Afternoon, January 17th 


GAILLARD, ROBERT 


154. L>ACCORD DE MARIAGE. Line engraving after C. Eisen. 
Portalis and Beraldi II. p. 224, No. 18. From the Von 
Schoenbronn-Karolath collection. 


155. LE BOUQUET. Line engraving after C. Eisen. Portalis and 
Beraldi II. p. 224, No. 14. Remargined. 


GANDOLFI, MAURO 


156. CUPID SLEEPING. Line engraving after his own design. 
Apell p. 168, No. 15. Third state with the artist’s dry 
stamp. 


GAUTIER, LUCIEN 


157. WESTMINSTER ABBEY, Interior. Original etching. 
Signed artist’s proof on Creswick paper. Limited to 250 
impressions. 


GEORGE, ERNEST 


158. FOUBERT’S PLACE; REGENT STREET. Painter-etch- 
ing. Proof on etching paper. 


GERARD, H. 
[2 159. L’ART D’AIMER. Stipple after Marguerite Gerard. (Sis- 


7 ter of the engraver.) Portalis and Beraldi II. p. 293. 


(Companion to No. 160.) 


160. L°-ESPOIR DU RETOUR. Stipple after Marguerite Gerard 
(Sister of the engraver.) Portalis and Beraldi Il. p. 
293. (Companion to No. 159.) 3 


GOLDING, RICHARD 


161. SIR WILLIAM GRANT, Master of the Rolls. Line engrav- 
ing after Sir Thomas Lawrence. Open letter proof. Very 
fine. 


First Session, Monday Afternoon, January 17th 


[GRANT, ULYSSES S.] 


162. GRANT AND HIS FAMILY., Engraved in mixed manner 
by William Sartain after the picture by W. Sartain. 
i. Proof i 
c roof on India paper. 


GREEN, VALENTINE 
168. MISS RAY. Portrait. Three quarter length, seated, right 


arm resting on book, music in left hand. Mezzotint. 
Whitman, 74-II (of four). Folio, about half an inch mar- 
7 gin all around, several thin spots on back. Framed. Fine 
Val impression of a scratched letter-proof, with the added 
—. words,—“‘who was Murdered April 7th, 1779,” on in- 


scription. 


> 164. ALEXANDER, LORD BRIDPORT. Mezzotint after L. F. 
on Abbott. Smith II, p. 588/539, No. 11. First state; with 
ares the “P” above the coat-of-arms. Fine. 


GRIMM, L. E. 


165. PORTRAIT OF LUTHER. Etching after Lucas Cranach; 

ELISABETH DE BOURBON. Etching by L. Flameng 

. after Velasquez; JOERG GYZE. Line engraving by G. 
| Eilers after Hans Holbein, and four others. (ie) 


GROSPIETSCH, H. 


. 166. FIGHTING BULLS. Painter-ctching; THE FORD. Paint- 
| fa er-etching by O. Quadrupani. (2.) 


HADEN, SIR FRANCIS SEYMOUR 


167. KENARTH. 1864. Painter-etching. Harrington, 64. First 
hs state. Published in “Etudes a leau-forte.” Proof on thin 
4 st laid paper. 


First S 


ession, Monday Afternoon, January 17th 


HADEN, SIR FRANCIS SEYMOUR 


168. THAMES DITTON, with a sail. 


2 169 
- 4 a 
- ‘ if 
170 
© ° 
re, 
De. 
f (‘) Wa 
HAIG, 
ae {172 
ae 
ut \ 
es \73 
ae j S194 
2 175 
4 2 
ae 76. 
kt : 
es /NA77 
— \y 
PEE et 
ae 
g 
/ 179 


Painter-etching. Harring- 
ton, 73. Third state; with French title and on aqua-fortist 
paper. 


. BRIG AT ANCHOR. 1870.. Painter-etching. Harrington, 
147. Proof on etching paper. 


. WINDSOR. Painter-etching. Harrington No. 199. First 
state; before the bough of the tree, crossing the sail, was 
removed. Signed proof on Creswick paper. Full mar- 
gin. Very fine. From the George D. Morgan collection. 


Har- 


. GREENWICH. Signed artist’s proof. First state. 
rington, 207. Tear at upper left margin, repaired. 


. A BELGIAN WAGON. Dry-point. Signed artist’s proof. 


Unknown to Armstrong. Dated, 1877. 


. ANOTHER PROOF of the same. 
. VERONA. Signed artist’s proof. Armstrong, 3. Very rare. 
Van ree 
. ANOTHER PROOF of the same. 
LINLITHGOW. Signed artist’s proof. Armstrong, 5. Very 
rare. 


. ANOTHER PROOF of the same. 


FLODA. Signed artist’s proof. Armstrong, 73. 


. GOTHEM, GOTLAND, SWEDEN. Signed artist’s proof. 


Armstrong, 119. 


HAIG, 
ee 180 
- 
a 


) ; 181. 


182. 


185. 


186. 


First Session, Monday Afternoon, January 17th 


AXEL HERMAN 


. PONTE ST. PIETRO, VERONA. Signed artist’s proof. Un- 


known to Armstrong. 


MONT ST. MICHEL. Original etching. Signed proof on 
Whatman paper. Limited to 300 impressions and the 
plate destroyed. Beautiful proof, was never framed. 
From the Peter Schemm collection. 

(See Frontispiece. ) 


ENTRANCE TO THE MOSQUE OF MAHOMMED BEY. 
Original etching. Signed proof on Rigley paper. From the Z 
Blanchard Randall collection. yw 


RETURN FROM THE FAIR, PAMPLUNA. Original etch- 
ing. Signed proof on Rigley paper. 
stroyed. 


The plate is de- 


. THE SAILOR’S GUILD, LUBECK. Original etching. Signed 


proof on Whatman paper. From the Blanchard Randall 


collection. 


. SCHLOSS ZWINGENBURG ON THE NECKAR. Original 


etching, aquatinted. Signed proof on Whatman paper. 
Limited to 250 impressions and the plate destroyed. From 
the Blanchard Randall collection. 


A STREET SCENE, COLOGNE. Original etching. Proof 


on Creswick paper. 


HENRIQUEL-DUPONT, P. L. 
187. LA VIERGE ET VVENFANT JESUS. Line engraving after 


a drawing by Raphael. Apell p. 127, No.2: UNE DAME 
ET SA FILLE. Line engraving after A. Van Dyck. 
Apell p. 180, No. 33. (2.) 


First Session, Monday Afternoon, January 17th 


HENRIQUEZ, B. L. 


188. MINERVE ECARTE LE DIEU DE GUERRE ET PRO- 


TEGE LA FECONDITE. Line engraving after P. P. 
Rubens. Andresen I. p. 662, No. 6. Proof with the 
artists’ names only in scratched letters. Full margins. A 
tear in the lower margin. 


HOLL, FRANCIS 


189. THE LINK OF LOVE. Line engraving after G. E. Hicks. 
First state; artists’ proof on India paper, signed by both 
artists. 


HOOK, JAMES C. 
190. GATHERING EGGS FROM THE CLIFF. 1858. Painter- 


etching. Proof on India paper, with the artist’s name only. 


HORSELEY, L. C. 


191. ILLUSTRATIONS TO GOLDSMITH’S “DESERTED VIL- 
LAGE”. Painter-etching. Proof on India paper. From 
the John T. Wilson collection. 


HORTEMELS, LOUISE M. (Wife of Ch. N. Cochin.) 


192. FRANCOIS GAULTIER, ABBE COMMENDATAIRE. Line 
engraving after A. S. Bette. 


HOUBRAKEN, JACOB 


198. ALGERNON SIDNEY; JOHN HAMPDEN; HENRY 
VANE; GEOFFREY CHAUCER;; Line engravings. Laid 
down. (4.) 


First Session, Monday Afternoon, January 17th 


HOUSTON, RICHARD 


194. EDWARD BERRY. “Mr. Berry in the Character of Dominic 
in the Spanish Fryer.” Mezzotint after T. Worlidge. 
Smith IT. p. 648, No. 10. Only one state. 


195. GEORGE IJ. Mezzotint after T. Worlidge. Smith II. pp. 
658759, No. 39. First state, proof before any inscription. 
Extremely fine. 


196. WILLIAM KINGSLEY. Mezzotint after Josh. Reynolds. 
Smith II. pp. 669/670, No. 67. Second state. Closely 


trimmed. 


197. INNOCENCE. Mezzotint after Ph. Mercier. Smith II. p. 
697, No. 1385. Second state, with the inscriptions. 


198. NATIVE MELTONS. [Girl opening oysters.] Mezzotint 
after Ph. Mercier. Smith p. 698, No. 138. Second state; 


with all inscriptions Margin. Fine. 


199. SHEPHERDESS. Mezzotint after H. Pickering. Smith II. 
p- 699, No 143. Only one state. With margin. Fine. 


200. PAMELA. Mezzotint after G. van der Myn. Smith IV. add. 
and corr. p. 702, No. 15la. Fine, with margin. 


HUFNAGEL, GEORG 


202. OLD VIEWS OF EUROPEAN TOWNS AND COSTUMES. 
About 1578. Fifty-one plates. Venice (with the conflag- 
ration of the Senate’s PALACE, 1577), Tours, Augiers, 
Poitiers, Lyons, Cambray, Wismar, Castle Ambras, Lintz, 
Ratisbon, Prag, Toledo, Sevilla and the campanile, Lisbon, 
Flissingen and others. (51.) 


HUYS, FRANZ 


203. HENRI II. King of France. Nagler Monogrammisten IL., 5. 
Rare; CATHERINE Queen of King John of Portugal. 


Engraving. Good impression, no margin. (2.) 


First Session, Monday Afternoon, January 17th 
HYDE, HELEN 


204. ORIGINAL WATER COLORS. 


Mostly Japanese subjects 


To BE OFFERED SEPARATELY. In the sizes given, the height 


is always first: 


cowP> 


PS Ay St 


M. 
. THE PRIEST’S CHAIR 

. TEAZING THE DARUMA 
. WASHING DAY 


NHOWOZ 


mt © 


. CHERRY 


THE KETTLE’S LULLABY 


. MISS APRICOT CLOUD 
. CHERRY BLOSSOM TIME 
. A BOOK OF VERSES UN- 


DoE RN EA T H-THE 
BOUGH 
A. PILGRIM AT THE 
SHRINE 


. THE LITTLE TEA HOUSE 
. THE WOODEN WARE 


SHOPS OF MR. BAMBOO 

BLOSSOMS BY 
THE RIVER 

IN AMBUSH 

THE WISTARIA ARBOR 


. EXPECTANT 
. CHERRY 


BLOSSOMS BY 
THE EDOGAWA 
SOAP BUBBLES 


IN A TEMPLE GARDEN 


. SECRETS 


THE KING 


[IRVING, WASHINGTON] 


205. WASHINGTON IRVING AND HIS LITERARY FRIENDS 
AT SUNNYSIDE. Engraved in mixed manner by J. Old- 


ham Barlow. 


Print. 


15 x 1684 inches 
1614 x 1814 inches 
1234 x 91% inches 


15 x 211% inches 


141% x 101% inches 
11 x 15% inches 


1144 x 1514 inches 


11 x 16 inches 
11 x 1484 inches 
934 x 18 inches 
2134 x 15 inches 


11 x 16 inches 

22 x 15 inches 

19 x 121% inches 
934 x 1814 inches 
15 x 1114 inches 
15 x 101% inches 
21144 x 15Y, inches 
15 x 211, inches 


AT THE AMERICAN ART GALLERIES 
Madison Square South, New York 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS 
COLLECTORS AND ESTATES AS HEREIN DESIGNATED 


Second Session, Numbers 206 to 419, inclusive 


MONDAY EVENING, JANUARY 17TH, AT 8:15 O’?CLOCK 


JACQUE, CHARLES 
206. PETITS, PETITS!!—PREMIERE LECON D’EQUITA- 
TION. Painter-etching, printed on aqua-fortiste paper. 
(2.) 
207. LE REPAS.—LE SOIR. Painter-etching on aqua-fortiste and 
India paper respectively. 


JACQUEMART, JULES 
208. WILHELM VAN HEYTHUIJSEN. Etching after Frank 
Hals; REMBRANDT after himself. Etching by Charles 

Waltner. (2.) 


JACQUET, ACHILLE 
209. FLORA. Line engraving after A. Cabanel. Remarque proof 


on India paper, signed by both artists. 


JOHN, FRIEDRICH 
210. FIVE BIBLE ILLUSTRATIONS. Line engravings after H. 


Fiiger. Artist’s proofs with full margins, some of them 
watermarked and foxed; TWO PORTRAITS.  Stipples 
after Boilly and Hickel respectively. Artist’s proofs. 

(7.) 


Second Session, Monday Evening, January 17th 


KNIGHT, JOHN P. 


211. DRINKING SONG. Painter-etching. Proof on India paper. 
Published in “The Songs of Shakespeare.” From the John 
T. Wilson collection. 


KRATKE, L. 
212. L,-ARQUEBUSIER. Etching after Fortuny. Remarque 


proof on vellum, signed by the etcher. 


KRIEHUBER, JOSEPH 


213. EINE MATINEE BEI LISZT, with portraits of Berlioz, 
Czerny, Ernst, Liszt and Kriehuber, all from life. Litho- 
graph by L. Grozelier. Interesting and rare. 


KUSEL, MATTHAEUS 


214. SIGISMUND FRANCIS, ARCHDUKE OF AUSTRIA. 
Nagler VII. p. 202, No. 28. Good old impression on 


paper with an indistinct watermark. No margin. 


[LAFAYETTE, MARQUIS DE] 
215. PORTRAIT. Line engraving by Leroux after Ary Schaffer. 


LALANNE, MAXIME 


216. LE PAYSAGE AU CREPUSCULE. Original etching. Ber- 
aldi, 50. First state, before additional work in the sky. 


LARMESSIN, NICOLAS DE 


217. LOUIS XV,—full length standing, after Vanloo. Portalis and 
Beraldi II., 26. Engraved as a companion piece to Maria 
Leczinska by the same artist. Fine. 


Second Session, Monday Evening, January 17th 


LARMESSIN, NICOLAS DE. (Continued) 


218. ACHILLES ET DEIDAMIE. Line engraving. Very fine. 
Inlaid. [Companion to No. 219. ] 


219. APOLLON ET ISSE. Line engraving. Very fine. [Com- 
panion to No. 218. ] 


LA ROUSSIERRE, FRANCOIS DE 
220. JACQUES DE * * * Bishop of Chalons. Engraved 


from life. Good old impression on paper with the water- 
mark “Star in a Ring.” No margin. 


LASNE, MICHEL 


221. LOUIS XIII. King of France and Navarre. Line engraving. 
Good old impression on paper with the watermarks “Grape 
and Lily,” and the letters “I. G.” Small margin; BER- 
NARD, Duke of Saxony. Baltazar Moncornet excudit. 
Line engraving. Very good impression with margin. 


(2.) 


LEGROS, ALPHONSE 


222. THE WAYFARER. Painter-etching. Proof on etching 
paper. 


LEMPEREUR, L. 
223. L;ATTENTE DU PLAISIR. Line engraving after Annibale 
Carracci. Portalis and Beraldi IIL. p. 653. Print on India 
paper. 


LEONI, OCTAVIO 


224. JOANNES BALIONUS. Painter. Bartsch XVII. pp. 2517 
252, No. 14. CHRISTOPHORUS RONCHALIS DE 
POMERANCYS. Painter. Bartsch XVII. p. 257, No. 
35. Both fine engravings and with big margins. 

(2.) 


Second Session, Monday Evening, January 17th 


LEPERE, AUGUSTE 


225. LE MOULIN A LIDOR, Crévecoeur. Painter-etching. Signed 
proof No. 4, on thin Japanese paper. Limited to 50 im- 
pressions. 


226. LA ROUTE DE LA HOUSSOYE, Crévecoeur. Painter-etch- 
ing. Signed proof No. 42, on loose India paper; stamped 
and numbered. Limited to 50 impressions. | 


DEY RAL cr. 
227. THE PHILOSOPHER. Etching after J. L. E. Meissonier. 


Remarque proof on vellum, signed by both artists. Only 
25 printed. 


(LINCOLN, ABRAHAM] 


228. LINCOLN’S CABINET. Engraved by A. H. Ritchie after 
¥. B. Carpenter. Artist’s proof on India paper, signed by 
both artists. 


229. DOCUMENT SIGNED. Ip. large folio, parchment, Wash- 
ington, May 24, 1864. Warrant for the appointment of 
Michael Bronett, as Assistant Quarter Master. Signed 
in full “Abraham Lincoln,” countersigned by Edwin M. 
Stanton, Secretary of War. With three vignettes, one a 
portrait of Lincoln. All four pieces, mounted in gilt and 
cedar frame, with glass, size 21 x 29 inches, lower en- 
graved portion of document stained, the mildew badly 
damaging engraved war emblems. 


LOMBART, PIERRE 


230. MOSES AMYRALDUS. Protestant Minister and Professor 
of Theology at the Academy of Saumur. Line engraving 
after P. de Champaigne. LeBlanc, 19. Good old impres- 
sion on paper with the watermark “Grape.” Very small 
margin. 


Second Session, Monday Evening, January 17th 


LOMBART, PIERRE. (Continued) 


231. DE LA FOND, called “LE GAZETIER DE HOLLANDE.” 
Engraved after H. Gascard. LeBlanc II., 388. Second 
state. Very good impression on paper with the water- 
mark “Grape in a Ring.” No margin. 


232. SIR ROBERT STAPLETON, POET. Frontispiece to his 
translation of “‘Juvenal.” Granger III, p. 184. Fine 
old impression on paper with the watermark ‘“Fleur-de- 
hs.” Small margin. 


LONGHI, GIUSEPPE 


233. EUGENE BEAUHARNAIS. VICE-ROY OF ITALY. Line 
engraving after Gérard. Apell p. 251, No. 35. Third 
state. The inscription in unshaded script. Very fine 
impression with margin. 


LOWENSTAM, LEOPOLD 
234. AN APODYTERIUM. Etching after Alma Tadema. Re- 


marque proof on Japanese paper, signed by both artists. 
Limited to 300 impressions. 


235. THE SECRET. Etching after Alma Tadema. Remarque 
proof on thin Japanese paper, signed by both artists. 


LUBIN, JACOB 


236. JEROME VIGNIER. Composer of the first Oratorium; 
JEAN DE LAUNOI. Physician to the House Navarra; 
N. BARON DE SACKEN. Engraving by Velyn after 
Noireterre. (3.) 


LUM, BERTHA 


237. JAPANESE FISHERMEN, 1912. Color-woodcut. Printed 
and signed by the artist. 


Second Session, Monday Evening, January 17th 


LUM, BERTHA. (Continued) 
238. JUNKS. 1912. Color-woodcut. Printed and signed by the 


artist. 


239. RAIN. 1912. Color-woodcut. Printed and signed by the 


artist. 


McARDELL, JAMES 


240. MR. GARRICK AND MRS. CIBBER in the Characters of 
Jaffier and Belvidera. Mezzotint after Zoffany. Smith 
II. p. 864, No. 81. Second state, with all inscription. 
Early impression with margin. | 


McRAE, JOHN C. 


241. HENRY WARD BEECHER. Engraved in mixed manner 
after IT’. Hicks. Artists’ proof on India paper. 


MANDEL, EDUARD 


242. LA BELLA DI TIZIANO. Laine engraving after Titian. 
Apell p. 259, No. 21. Print on plain paper. 


MARCENAY DE GHUY, ANTOINE 


243. VICTOR DE RIQUETTY, MARQUIS DE MIRABEAU. 
Etching after Aved; A VAN DYCK. Line engraving 
after Van Dyck. PRINCE EUGENE OF SAVOY. Line 
engraving. (3.) 


MARRIOTTE, F. 
244. CAESAR’S TOWER, Provins. fPainter-etching. Signed 


proof printed in colors on Creswick paper. 


245. CHATEAU NEAR FONTAINEBLEAU.  Painter-etching. 


Signed proof printed in colors on Creswick paper. . 


246. A NORMANDY FARM.  Painter-etching. Signed proof 


printed in colors on Torchon paper. 


247. OLD HOUSE NEAR LOCHES. Original soft-ground etch- 
ing. Signed proof printed in colors, on Creswick paper. 


Second Session, Monday Evening, January 17th 


MASSON, ANTOINE 


248. LOUIS VERJUS, Comte de Crécy, from life. 1679. One of 
the Ambassadors plenipotentiary of Louis XIV. to Peace 
Conference at Riswyck. Robert-Dumesnil II., 28. Sec- 
ond state; with the inscription. 


249. MARIN, CUREAU de la CHAMBRE (PHYSICIAN TO 
THE KING). Engraved 1665 after P. Mignard. Rob- 
ert-Dumesnil II., 24. First state, before the cross hatch- 
ing on the cheek. One of the engraver’s chef-d’oeuvres. 
Very fine impression. on paper with the watermark ‘“Mon- 
ogram of Christ and 5 Nails in Circle.” Small margin. 


250. PIERRE DUPUIS, FLOWER PAINTER. Engraved 1663 
after N. Mignard. Robert-Dumesnil IL, 25. Third state. 
Good old impression with big margin. 


251. ALEXANDER DUPUY, Marquis de Saint-André-Montbrun, 
Son of Charles Dupuis-Montbrun one of the bravest of 
Calvinist captains. Robert-Dumesnil II., 26. Third state. 
No margins. 


MASTER F. C. 


252. ORNAMENTAL PLATE OF LEAVES WITH WINGED 
GENIUS AT BASE. 15384. Bartsch IX., 18. Fine, 
old impression with a small margin and otherwise well 
preserved. 


MATHAM, THEODOR 


258. JACOB BARON DE WASSENAER, Governor and Admiral 
of Holland and West Frisland. Line engraving after a 
painting by A. Hanneman. Good old impression on pa- 
per with the watermark “Crowned Ring with the Lion of 
Flanders and below the letters W. I.” 


MAZZUOLI (FRANCESCO), called PARMEGGIANO 


254. VICTORY OF VERTUE. Original etching. Bartsch XVLI., 
17. From the Pierre Mariette and Ernest Devaulx col- 
lections. 


Second Session, Monday Evening, January 17th 


MEISSONIER, J. L. E. 


255. AN ILLUSTRATION TO “RABELAIS” Painter-etching. 
Proof on old laid paper. Big margin. Very fine. 


MELLAN, CLAUDE 
256. CARDINAL JULES MAZARIN. Line engraving from Life. 


Old impression on paper watermarked “Mounted Cross 
and the letters I. D.”? Oil stain in the framework. 


MILLER, JOHN D. 


257, LETTY. Mezzotint after Sir Frederick Leighton. Lettered 
proof on India paper. Very fine. 


MORACH, C. 
258. ANGELICA KAUFFMANN. Line engraving after Sir Josh- 
ua Reynolds. Andresen II. p. 186, No. 9. Proof with 
unshaded capitals. Large paper copy. 


MORAN, THOMAS (American Etcher) 
259. MULFORD’S ORCHARD, Easthampton 1883. Painter- 


etching, signed proof on vellum. 


MORGHEN, RAPHAEL 


260. ANGELICA AND MEDORO. Line engraving after T. Mat- 
teini. Halsey pp. 12/718, No. 11. Fourth state. 


261. THE LAST SUPPER. Line engraving after Leonardo da 
Vinci. Halsey pp. 68/72, No. 84. Intermediate state be- 
tween the 5th and 6th, with the dot under the “R” in 
Raphael, but with the dark cloud, seen through the centre 
window, almost touching Christ’s Head. Before the gen- 
eral retouch of the 6th state. Fine impression with full 


margins. 


Second Session, Monday Evening, January 17th 


MULLER, JOHANN GOTHARD VON 
262. JEAN GEORGES WILLE. Engraved 1776, after J. B. 


Greuze. Andresen II., 8. Small margin. 


MULLGARDT, L. C. 


263. MISSION AT CARMEL, CALIFORNIA. 1914. Original 
lithograph. Signed proof on heavy laid paper of a dark 
cream color. 


NANTEUIL, ROBERT 


264. PIERRE DU CAMBOUT, Cardinal de Coislin. Engraved 
from life. 1658. Robert-Dumesnil IV., 69. First state; 
before the date was changed to 1664. Fine impres- 
sion on paper with the watermark ‘“‘Orb, surmounted by 


a Cross.” With a small margin. 
rc 


265. JEAN LOUIS CHARLES D’ORLEANS-LONGUEVILLE, 
Comte de Dunois. Robert-Dumesnil IV., 86; CHARLES 
PARIS DPORLEANS-LONGUEVILLE, Comte de Saint- 
Paul. Robert-Dumesnil IV., 219. Both oval and reversed 
copies of the portraits only, bearing in the lower margin 


o4 the following inscriptions in three lines: (No. 86) “R. 


NG Nanteuil sculp.| Le GRAND TURENNE.| DANS SA 
JEUNESSE.” (No. 219) “R. Nanteuil Sculp.| D’OR- 
LEANS FILS.| DU DUC DE HONGRIE. (2.) 


266. GASPARD DE FIEUBET, First President of the Parliament 

of Toulouse. From Life 1654. Robert-Dumesnil IV., 96. 

,f Only one state known. Very fine impression on paper with 

\s = the watermark ‘Monogram of Christ”—Wibiral, 8. 
Closely trimmed. 


267. HENRI de GUENEGOUD, Marquis de Plancy, Secretary of 
state; after Philip de Champaigne. 1654. Robert-Du- 
mesnil IV., 106. Second state; with the order of the St. 


| Esprit. Fine impression, closely trimm d_the two 


upper corners repaired. 


Second Session, Monday Evening, January 17th 


NANTEUIL, ROBERT. (Continued) 


268. PIERRE JEANNIN, Superintendent of the Finances. EN- 
GRAVED FROM LIFE 1656. Robert-Dumesnil IV., 112. 
Only one state known. Fine impression on paper with the 
watermark ‘Tablet with the letters G. B.” and a daisy 
above it. This mark appears on the same sheet of paper 
with the “Interlaced Cs” and a coat-of-arms. Closely. 
trimmed ; the third line of the inscription almost completely 


cut off 


269. LOUISE MARIE DE GONZAGA. Queen of Poland and Swe- 
den. Engraved 1653 after Juste. Robert-Dumesnil IV., 
/ 164. Second state; with ‘“‘Loyse” on the upper part of 
the oval frame. Laid down on account of a tear in the 


framework. No margin. Rare. 
Ni ate oneal 


270. CARDINAL JULES MAZARIN, Minister of State. En- 
graved from life 1656. Robert-Dumesnil IV., 178. Only 
one state known. Fine impression on paper with the 


J Jt watermark “Coat-of-arms of Louis XIII.” Without any. 


271. CARDINAL JULES MAZARIN, Minister of State. FROM 
LIFE. 1656. Robert-Dumesnil IV., 179. Only one state 


v known. Fine impression, closely trimmed. 


272. HENRI de LORRAINE, Marquis de Mouy. Engraved from 

life. 1651. Robert-Dumesnil IV., 197. First state; be- 

| fore the inscription on the border. A very fine impression 
v with margin. 


273. JEAN FRANCOIS PAUL DE GONDI, Cardinal de Retz. 


Engraved from life. 1650. Robert-Dumesnil IV., 217. 
Second state; the plate has been cut down. Fine impres- 
Y sion on paper with the watermark “Grape” and below it i 
the initials “G. A.” With margin. 


274. JEAN FRANCOIS SARRASIN. Poet. Drawn from life 


1649, engraved 1656. Robert-Dumesnil IV., 220. Third 
state; with two vertical lines in the margin. Good im- 
\X wv pression with margin. 


Second Session, Monday Evening, January 17th 


[NAPOLEON L.] 
275. PORTRAIT OF NAPOLEON; Bust. Lithograph by G. 


276. 


ath fe 


Perisco. From the Childs and Inman Press. First folio 
American lithograph. Lightly colored. Very rare. 


NAPOLEON ON ST. HELENA. Lithograph by Weber after 
Vaffiard. On India paper; NAPOLEON MEETING HIS 
GENERALS IN THE ELYSIAN FIELDS. Aquatint. 
Proof before all letters; GLORIFICATION OF NAPO- 
LEON. Aquatint. Proof before all letters. (3.) 


A REPRESENTATION OF THE PRESENT STATE OF 
EUROPE. Colored wood engraving published 1804 bv 
L. Mayer. A satirical print; THE CAPITULATION 
OF ULM. Colored lithograph printed by Kaeppelin. 
(2.) 


. APOTHEOSIS OF NAPOLEON. Mezzotint by J. P. M. 


Jazet after H. Vernet. First state. Proof before all let- 
ters. 


. LE MAGISTRAT DU VERBE DEVANT LE. VERBE. 


Lithograph by Tony Touillon. Very rare. 


. COLUMN VENDOME. Satirical etching in Gillray’s man- 


ner. Colored. 


‘[NAPOLEON I. AND III.] 


281. 


SILVER SPURS. Pair of Silver Spurs used by Napoleon I. 
With hall-mark, one repaired; NAPOLEON III. Pair 
of Gilt Spurs used by Napoleon III. at balls and court 
ceremonies. ‘Together, 4 pieces, mounted in one box, with 
glass front. The following authentication is in the hand- 
writing of Nathan Appleton of Boston, dated and signed, 
April 11, 1€95,—“TI obtained them both from a man who 
had been coachman to Napoleon III, and who saved them 
in his private study of the Tutleries before the palace was 
entered and pillaged by the Commune and subsequently 
burned in part.” 


Second Session, Monday Evening, January 17th 


[NAPOLEON I. AND MARIE LOUISE] 


282. SIGNATURE AND DOCUMENT SIGNED. Autograph 
Signature of Napoleon, as First Consul of the Republic; 
MARIE LOUISE. D.S., 1p, 4to, St. Cloud, May 8, 1812, 
her appointment as patroness of the Society of Maternal 
Charity. Signed by the Grand Almoner of the Empire, 
Cardinal Louis, Bishop of Versailles (Sec’y); MONTE- 
BELLO (DUCHESS). A.D., third person, Ip. 4to, with 
address. September 9, 1818. To the Baroness de Men- 
eval, regarding an interview with the Queen; BERT- 
RAND (GENERAL). A.N. third person. To Baron de 
Meneval, notifying him of having brought back a branch 
from the willow tree at Napoleon’s grave, below are two 
poems, the first signed by Baron de Meneval, the second 
headed, “‘Vers de Victor Hugo;” BEAUMONT (M. DE). 
A.D., signed in third person. Malmaison, October 18, 
1809. To Madame de Meneval, informing her by the Em- 
press’ orders of the signing of peace; MARIE LOUISE. 
A. L. S., lp. 8vo. January 14, 1816. To Madame de 
Meneval, returning thanks for New Year greetings; 
Piece of red taffeta given by the Empress, Marie Louise, 
August 22, 1813, to the Baroness de Meneval. ‘Together, 
8 pieces, mounted and framed as one piece, with glass. 
Size 2214 by 37 inches. 


[NEW YORK CITY] 


283. BROADWAY. West side from Battery to Fulton Street, 
1858. Lithograph, colored and uncut. 


284. CENTRAL PARK. Looking South from the Observatory. 
1859. Lithograph printed in oil colors by H. Crate, 181 
William St., New York. 


NORBLIN DE LA GOURDAINE, JEAN PIERRE 


285. JOHN PREACHING IN THE WILDERNESS. Etching in 
Rembrandt’s manner. His last and largest plate. Andre- 
sen II. p. 233, No. 7. Full margins, with tear in the 
lower. 


Second Session, Monday Evening, January 17th 


OUDRY, JEAN BAPTISTE 
286. ILLUSTRATIONS TO THE “ROMAN COMIQUE?” by Paul 


Scarron. Etchings finished with the burin. Robert-Dumes- 
nil IT. p. 201-5, No. 57 to 63 and 65. Third state (of 5) 
before the numerals. (8.) 


PENCZ, GEORG 


287. THE TAKING OF CARTHAGE. Line engraving after Giu- 
lio Romano. Bartsch VIII, No. 86. Second state (of 
4), with Salamanca’s Address. This is the largest plate 
engraved by one of the “‘Little Masters.””> From the Nahl 
collection. 


PENNELL, JOSEPH 
288. CALIFORNIA STREET AT SUNSET, SAN FRANCISCO. 


Painter-etching. Artist’s proof printed on greenish laid 
paper, signed by the etcher. 


289. CANAL FAIR FOG; SAN FRANCISCO.  Painter-etching. 
Artist’s proof printed on a greenish laid paper, signed by 
the etcher. 


290. THE CATHEDRAL; PANAMA. Painter-etching. Artist’s 
proof printed on Dutch paper of about 1830, watermarked 
“Shield with the Lion of Flanders, the letters M. C. and 
the date,” signed by the etcher. 


291. THE DEBACLE OF THE DE LESSEPS PANAMA. Paint- 
er-etching. Artist’s proof printed on laid paper of about 
1830, signed by the etcher. 


292. THE JAWS OF THE CANYON; GRAND CANYON, COL. 
Painter-etching. Artist’s proof printed on old laid paper, 
watermarked with a “Grape,” signed by the etcher. 


Second Session, Monday Evening, January 17th 


PENNELL, JOSEPH. (Continued) 


293. ON TELEGRAPH HILL; SAN FRANCISCO. Painter-etch- 
ing. Artist’s proof printed on Dutch paper of 1830, wa- 
termarked “Shield with the Lion of Flanders, the letters 
M. C. and the date” signed by the etcher. 


294. UNBURNT TELEGRAPH HILL. Painter-etching. Artist’s 
proof printed on laid paper of about 18380, signed by the 


etcher. 


295. THE AMERICAN QUARTER. P. No.1. From the Panama 
Set. Original lithograph printed on French paper, water- 
marked “M. B. M. (France) Ingres d’Arches,”’ signed by 
the artist. 


296. THE BLACK CLIFFS, GRAND CANYON. Original litho- 
graph printed on Italian paper watermarked “Ingres P. 
M. F. (Italia)”, signed by the artist. 


297. THE BUTTRESSES, YOSEMITE. Original lithograph 
printed on Italian paper watermarked “Fabriano (Italy)”, 
signed by the artist. 


298. THE CATHEDRAL DOOR, YOSEMITE. Original ltho- 
graph printed on Italian paper watermarked “Ingres P. 
M. F. (Italia)’’, signed by the artist. 


299. NIGHT IN THE VALLEY YOSEMITE. Original ltho- 
graph printed on Italian paper watermarked “Ingres P. 
M. F. (Italia)”, signed by the artist. 

300. LONDON BRIDGE. Original lithograph. 


301. INDIA IN LONDON. Original lithograph. 


PETHER, WILLIAM 


302. A JEW RABBI. Mezzotint after Rembrandt. Smith II. p. 
991, No. 89. Third state. Closely trimmed. 


Second Session, Monday Evening, January 17th 


PHILLIPS, G. H. 
3038. THE CRICKET MATCH between Sussex and Kent at Brigh- 


ton. Engraving in mixed manner after Wm. Drummond 


and Chs. J. Basébe. Open letter proof on plain paper. 
With key. 


PIRANESI, FRANCESCO 


304. CASTEL S. AUGELO; TEATRO DI MARCELLO; TER- 
EME DI CARACALLA; ARCO DI NERONE. Original 
etchings. ( 4.) 


PLATT, CHARLES A. 
305. AFTERNOON ON THE RIVER MEUSE. Original etching. 


Signed proof on Japanese paper; laid down. 


POILLY, FRANCOIS DE 
306. LOUIS XIV, WHEN YOUNG. Engraved after J. Nocret. 


LeBlanc III., 89. Very good impression with small mar- 
gin. Rare. 


POILLY, NICOLAS DE 


307. LOUIS DUC DE BOURBON, PRINCE DE CONDE alled 
“Te GRAND CONDE.” Line engraving. Le Blanc III, 
38. Old impression on paper with an indistinct water- 


mark. Margin, slightly rubbed. Rare. 


308. EMMANUEL JOSEPH DE VIGNEROT DE RICHELIEU, 
ABBE DE MARMOUTIER. Nephew of Cardinal 
Richelieu. Engraved from life. LeBlanc IL, 57. First 
state, before the name of the personage. Very fine im- 
pression on paper with the watermark “Grape and Ring.” 
Closely trimmed. 


Second Session, Monday Evening, January 17th 


POILLY, NICOLAS DE. (Continued) 


309. JACQUES TUBEUF; PRESIDENT OF THE COURT OF 
ACCOUNTS. Engraved after P. Mignard. LeBlanc IIL, 
59. Very good impression on paper with the watermark 
“Grape.” 


310. ANNE MARIE LOUISE D’ORLEANS, MLLE. DE MONT- 
PENSIER (La GRANDE MADEMOISELLE) as MIN- 
ERVA. Engraved from life. Dutuit, Graveurs de por- 
traits II., 1981. Second state. Very good impression. 
No margin. 


POMPADOUR, MADAME DE 


311. SPRING. Original etching. 1752. Fine impression. Ac- 
cording to Portalis and Beraldi, Madame de Pompadour 
was the most talented amateur of her time. 


PREISLER, VALENTIN DANIEL 
312. A JEW BRIDE. Mezzotint after Rembrandt. With margin, 


very rare. 


[QUEEN VICTORIA] 


313. LETTER SIGNED. Ip. 4to, Osborne House, November 26, 
1851. To My Good Sister, The Queen of Sardinia, re- 
calling Sir Ralph Abercromby for service elsewhere. With 
2 engraved portraits of Queen Victoria. 'The three pieces, 
neatly mounted in one gilt and walnut frame, with glass. 
Size 3714 x 22 inches. Suspended from top of frame is a 
Victoria silver medal, “Burma 1885-7.” 


RAJON, PAUL 


314. PORTRAIT OF PABLO DEL SARASATE, Celebrated Span- 
ish Violinist. Original lithograph. Beraldi XI. p. 167. 
Addition. Original issue. 


Second Session, Monday Evening, January 17th 


REDGRAVE, R. 
315. ILLUSTRATIONS TO GOLDSMITH’S “DESERTED 


VILLAGE.” Painter-etching. Proof on India paper. 
From the John T.. Wilson collection. 


REMBRANDT VAN RIJN 


316. 


317. 


318. 


319. 


320. 


321. 


THE RAISING OF LAZARUS; the smaller plate. 1642. 
Original etching. Bartsch, 72. Second state; the delicate 
ines on the forehead and back of the neck of Lazarus have 


disappeared. 


THE DESCENT FROM THE CROSS; by TORCHLIGHT. 
1654. Original etching. Bartsch, 83. Only one state 


known. 


RETURN OF THE PRODIGAL. Original etching. Bartsch, 
91; BEGGAR. Original etching by Charles Jacque. 
Guiffrey, 31; HEAD OF A MAN. Original etching 
marked E. G. 61. On loose India paper bearing Burty’s 
early stamp. (3.) 


STONING OF ST. STEPHEN. Original etching. Bartsch, 
97; PEASANT LAUGHING. Original etching by Van 
Ostade, and three others. (5.) 


THE DEATH OF THE VIRGIN. 1639. Original etching. 
Bartsch, 99. Fourth state. 


DIANA AT THE BATH. About 1681. Bartsch, 201. 
Early impression, before the retouch. On paper showing 
the watermark “Monogram of Christ” which appears on 
the same sheet of paper together with the ‘Crowned 
Shield with a Lily and the Monogram W. R.” Webiral, 8. 
This print also bears the collector’s mark “G. A.” writ- 
ten in ink. From the H. Ohse collection. 


Second Session, Monday Evening, January 17th 


REMBRANDT VAN RIJN. (Continued) 


322. 


323. 


324. 


325. 


326. 


327. 


BEARDED MAN (REMBRANDT’S FATHER?) IN A 
FURRED ORIENTAL CAP AND ROBE: HALF 
LENGTH. 1681. Bartsch, 268. Fourth state; the 
width of the plate is 128 mm. Good impression with 
small margin. 


ABRAHAM FRANCZ. Art dealer. Painter-etching. Bartsch 
No. 273. Ninth state. On paper watermarked “PAS- 
ERVE.” With margin. 


JAN LUTMA the Elder, Goldsmith and Sculptor. Painter- 
etching. Bartsch, No. 276. Third state, on paper with 
the water mark “PASERVE.” Small margin. 


LIEVEN WILLEMSZ VAN COPPENOL, WRITING-MAS- 
TER: THE LARGER PLATE. About 1658. Bartsch, 
2€3. Sixth state, the head only. Small margin. From 
the E. Devaulx collection. 


THE WHITE NEGRESS. About 1635. Original etching. 
Bartsch, 357. Second state. The size of the plate has 
been reduced, so that the monogram is lost. Very good 
impression with margin. 


PORTFOLIO CONTAINING 18 REPRODUCTIONS OF 
REMBRANDT’S LARGER ETCHINGS. From the 
illustrated edition of Charles Blanc’s “L’Oeuvre de Rem- 
brandt.”’ 


REYHER, ROBERT 


328. 


MARIA MANCINI. Line engraving after Pierre Mignard. 
Apell p. 356, No. 11. Print on plain paper. 


REYNOLDS, 8S. W. 


329. 


THE RIGHT HONOURABLE LORD #£VISCOUNT 
O’NIELL. Mezzotint after Wim. Peters. Closely trimmed. 


Second Session, Monday Evening, January 17th 


RICHETON, LEON 
330. MORNING BY THE SEA. Etching after George Wether- 


bee. Remarque proof on vellum, signed by both artists. 


ROBERTS, PIERCY 


331. BRITISH ADMIRALS.  Stipple after Hoppner, Cosway, 
Clarke, Brown and Abbot. 


ROMANET, ANTOINE LOUIS 


332. JEUNE FEMME AU BAIN. Line engraving after Carle 
Van Loo. Portalis and Beraldi II. p. 409. Proof before 


letters. In French mat. 


SADLER, W. DENDY 


333. RIVALS. Etching by C. Gaujean. Artist’s proof on vellum 
paper, signed by both artists. 


SCHMIDT, GEORGE FRIEDRICH 
334. J. OFFRAY DE LA METTRIE. PHYSICIAN. Engraved 


from life. Jacoby, 76. Very good impression with big 
margin. 


335. ANTOINE PESNE. Line engraving after himself. J. E. 
Wessely, No. 83. Second state, showing the three dots 
in the margin near the left lower corner. Big margin. 


336. PORTRAIT OF A MAN WITH A PLUMED HAT. Etch- 
ing after G. Flinck. J. E. Wessely, No. 186. Second 
state; the shading of the background to the left of the 
head touches the hair. Very fine; small margin. 


337. THE DUKE OF GELDERS threatening his Father-in-Law. 
Etching after Rembrandt. J. E. Wessely, No. 137, Second 
state of (8); before the horizontal lines on the keyhole. 
Fine impression, with margin. 


Second Session, Monday Evening, January 17th 


SCHMIDT, GEORGE FRIEDRICH. (Continued) 


338. THE DUKE OF GELDERS THREATENING HIS FA- 
THER-IN-LAW. Etching after Rembrandt. J. E. Wes- 
sely, No. 187 reversed copy. SARAH GIVING HAGAR 
TO ABRAHAM. Etching after Dietricy. J. E. Wessely, 
No. 157. The two upper corners repaired. THE JEW 
BRIDE. Etching after Rembrandt. J. E. Wessely, No. 
189. Fourth state of (5); before the accent on the “e” 
in “d’apres.”” With margin; fine. (3.) 


SCHGENGAUER, MARTIN 


339. THE CRUCIFIXION. Bartsch, VI, 25. Good impression 
of medium quality. The plates by this master, particu- 
larly the larger ones, are very difficult to obtain. On 
paper with the watermark “The Coat-of-Arms of the 
Bishop of Osnabruck.” With a small margin; three small 
tears repaired. 


340. ST. GEORGE KILLING THE DRAGON. Circular. Bartsch 
VI., 51. Very good impression of a very rare plate; 
closely trimmed. 


341. THE VIRGIN APPEARING TO ST. JOHN ON PATMOS, 
WHILE WRITING THE APOCALYPSE. Bartsch, VI. 
55. Very good impression. The right upper corner is 
replaced by another paper. 


SCOTT, JAMES 
342. THE DERBY CABINET, deciding upon the expedition to 


Abyssinia. Engraving in mixed manner after Henry Gales. 
Print on plain paper. 


SEYDEL, HANS 


343. G. MOMMSEN. CELEBRATED GERMAN HISTORIAN. 
Etching from life. Signed artist’s proof on Van Gelder 
paper. Limited to 25 impressions, of which this is No. 23. 


Second Session, Monday Evening, January 17th 


SHARP, WILLIAM 


344. THE SORTIE MADE BY THE GARRISON OF GIBRAL- 
TAR IN THE MORNING OF THE 27 of November 
1781. Line engraving after John Trumbull. W. 5. 
Baker, 23. Intermediate state between the 4th and 5th, 
with shaded inscription, but before it was changed into 
German. Fine, full margin. 


345. THE RIGHT HONBLE ROBERT DUNDAS. Line engrav- 
ing after H. Raeburn. W. S. Baker, 43. Third state. 
Open letter proof. Very fine with full margin. 


346. SAMUEL MORE. Line engraving after Benjamin West. W. 
S. Baker, 65. Second state. 


SIMON, PIERRE 


347. CARDINAL JACOPO ROSPIGLIOSI. Line engraving after 
Carlo Maratti. 1669. Le Blanc, 35. Good old impres- 
sion on paper with the watermark “Monogram of Christ 


and 8 nails.” Closely trimmed and folded. 


SIMON, T. FRANCOIS 


348. FACADE DE LA CATHEDRALE A ROUEN. Original etch- 
ing. Artist’s proof No. 79 on Van Gelder paper, printed 
by the etcher himself. Signed, stamped and numbered. 


349. NOCTURNE DE NOTRE-DAME, Paris. Painter-etching. 
Signed proof No. 33, printed in a deep brown ink on Van 
Gelder paper; numbered and stamped. 


350. PETITE RONDA; Espagne. Painter-etching. Signed proof 
No. 16 on Van Gelder paper; numbered and stamped. 


‘econd Session, Monday Evening, January 17th 


SIMONNEAU LAINE, CHARLES 
351. THE PORTRAIT OF LOUIS XIV, is shown by Mercury to 
History and Time. Engraved after H. Rigaud and A. 
Coypel. LeBlanc, 11; THE PORTRAIT OF LOUIS 
XIV. Held by Minerva. Engraved after H. Rigaud 
and A. Coypel. LeBlanc, 138. Very fine; LOUIS XIV. 
Engraved by N. de Larmessin. LeBlanc, 59; LOUIS XIV. 
WHEN A CHILD. Engraving. S. Kloeting exc. Delf; 
rare; LOUIS XIII. Engraved after Ph. de Champaigne 
by De Lorraine. (5.) 


352. LOUIS MAIMBOURG, engraved after Nivellon. No margin; 
JEAN BART, engraved by P. Alix Tardieo. Deckel edge; 
CHARLES DUC DE BOURBON, Connétable de France, 
engraved by Thos. de Leu. R. D. No. 328. Big margin; 
NICOLAS FOUCQUET, engraved by F. de Poilly after 
C. Le Brun. Title to Vol. IV. of “Renati Rapini soc. Jesu 
Hortorum.” From the W. Sharp collection; Le Grand 
Turenne. Engraving. (5.) 


SLOCOMBE, FREDERICK 
353. WHERE THE POPLARS KISS THE SKY. Original etch- 


ing. Signed artist’s proof on Whatman paper. 


SOLIS, VIRGIL 


354. THE PLANETS. FIVE OF THE SEVEN PLATES. 
Bartsch [X., 163-169. Cut and mounted. One repaired; 
VARIOUS LANSQUENETS. Four plates of 12. Nag- 
ler XVII., 245-255; VARIOUS PORTRAITS IN ME- 
DALLIONS, 15 pieces. Nagler XVII., 489, 452 and 455. 
(3 sheets.) 


STEINLA, MORITZ MULLER VON 


355. SISTINE MADONNA. Line engraving after Raphael. Apel! 
p- 406, No. 2. Second state. Remarque proof without 
the artist portrait, in the margin; with the engraver’s 
stamp. On India paper. Browned, with two tears in the 
margin. 


Second Session, Monday Evening, January 17th 


STOCK, ANDRIES 
856. LUCAS VAN LEYDEN. Line engraving after van Leyden 


himself. Good old impression, closely trimmed and the 
two lower corners cut off. 


STRANG, W. 
357. PORTRAIT OF JOACHIM, the Celebrated German Violinist. 


Painter-etching. Proof on Whatman paper. <A tear in 
the margin carefully repaired. 


STRANGE, ROBERT 


3858. CLEOPATRA. Line engraving after G. Reni. LeBlanc pp. 
23/24, No. 22. Third state; on large paper with deckel 
edges; PSYCHE. Line engraving by R. D. London 1796. 
On large paper; THE HERMIT. Line engraving by G. 
Planer after Sal. Konincx. Apell p. 885, No. 7. On 
India paper, slightly foxed; laid down. (3.) 


359. CHARLES I. AND THE DUKE OF HAMILTON. Line en- 
graving after A. van Dyck. Le Blanc, 45. Third state. 


Fine impression with full margin. 


360. VENUS. Line engraving after Titian. LeBlanc pp. 29/30, 
No. 27%. Second state; with all inscriptions. Very fine. 
Duplicate of the Boston Museum. 


361. VENUS BLINDING CUPID. Line engraving after Titian. 
LeBlanc p. 30, No. 28. Second state; with all inscrip- 
tions. Fine, with margin. 


STUBBS, GEORGE TOWNLEY 
362. SWEETBRIER. (Race Horse). Engraving in Stipple and 


Line after G. Stubbs. Fine impression, with margin. 


Second Session, Monday Evening, January 17th 


SUYDERHOEF, JONAS 


363. CONSTANTIN L?EMPERUER AB OPPYCK. Engraved 
after Baudrigeen. Dutuit VI., 24. Fourth state; on pa- 
per with the watermark “Folly.” No margin. 


364. ANDREAS RIVET, doctor of Theology at the Academy of 
Leyden. Engraved 1647 after P. Dubordieu. Dutuit VI, 
72. Second state. Fine impression, on paper with the 
watermark ‘‘Double headed eagle with the Cross of Basei 
and to the right the letters D. B.” Small margin. In- 
laid. 


365. ELEAZAR (Hendrik according to catalogue Visser) SWALM, 
doctor of Theology at Haarlem. Engraved after Rem- 
brandt. Dutuit VI., 84. Furst state. Fine impression 
on paper with the watermark “Folly” and “P. B.” with 
small margin and in perfect condition. From the H. 
Fuessli & Co. and J. V. collections. 


366. THE TRIC-TRAC PLAYERS. Etching finished with the 
burin after A. van Ostade. Dutuit VI. p. 412, No. 123. 
Third state, with the shading on the pipe, but before 
Valk’s Address. Fine impression, with small margin. 


SYNGE, E. M. 


367. QUAI ST. SEBASTIAN, Martinique. Painter-etching. 
Signed proof on thin laid paper. 


TADEMA, ALMA 
368. AT THE SHRINE OF VENUS. Photogravure. Artist’s 


proof on vellum. Signed. 


TAYLOR, FREDERICK 


369. ILLUSTRATIONS TO GRAY’S “ELEGY.”  Painter-etch- 
ing. Proof on India paper. From the John T. Wilson 
collection. 


Second Session, Monday Evening, January 17th 


THOMSON, J. 


3870. LADY BAGOT, VISCOUNTESS BURGERSH, and LADY 
FITZROY SOMERSET. Engraving in Crayon manner 
after a drawing by Sir Thomas Lawrence. Creased and 
a tear in the background carefully repaired. 


TURNER, CHARLES 
d71. SANCTA CECILIA. Mezzotint printed in colors, after Car- 


lo Dolce. A very fine impression of great brilliancy. 
Framed. 


VAN ELTEN, KRUSEMAN. (American Etcher) 
372. ON THE HOUSATONIC. Proof on etching paper. 


VAN MECHHELN, JAN, EXCUDIT 
373. POPE URBAN VIII (MAFFEO BARBERINI.) Line en- 


graving 1623. Fine old impression, on paper with an in- 
distinct watermark. Small margin. 


VAN MECKENEM, ISRAEL 
374. BEHEADING OF ST. JOHN THE BAPTIST. Bartsch VI, 


8. An impression of medium quality, of a rather rare 
plate. On paper in good condition with the watermark 
“Quartered Shield with Lilies and Dolphins.” Small mar- 


gin. 


375. ST. CHRISTOPHER. Bartsch VI., 90. Good impression 
with four small pieces of paper inserted in the margin. 
From the Count M. von Fries collection. 


VAN OSTADE, ADRIAAN 


376. THE BARN. Original etching. Dutuit V. pp. 234/235, No. 
23. Sixth state; the acid spot on the woman’s back has 
disappeared. | 


Second Session, Monday Evening, January 17th 


VAN SCHUPPEN, PIETER 


377. POPE ALEXANDER VII. Engraved 1661 after P. Mig- 
nard.. LeBlanc, Il1., No. 1. Very good impression on 
paper with the watermark Coat-of-arms with Shamrock 
below the Chevron and 2 stars above it. Closely trimmed. 


378. JEROME BIGNON, Attornéy general of the French Parlia- 
ment. 1695. Le Blanc III., 10; PIERRE DE MARCA, 
Archbishop of Paris, after Van Loo. 1663. Le Blanc 
IIl., 81. Big margin. (2.) 


379. THEODORE BIGNON, SENATOR. Engraved 1697 after 
F. de Troy. LeBlanc III., 11. Fine impression with 


margin. 


380. NICOLAS JOSEPH FOUCAULT, MAGISTRATE. En- 
graved 1698 after N. de Largillére. LeBlanc, I1i., 35. 
Fine impression on paper with the watermark “TED.” 
With margin. 


381. PIERRE DE MONCHY, PRESBYTER, after F. Quenin. 
1688. Le Blanc III., 92. No margin.’ GASPARD 
THAUMASIUS THAUMASSERIUS, VISCOUNT DE 
LESTEUF AND D’ARACY, after Ambroise Quenin. 
1695, Le Blane III., 118. No margin; RENE D’°URFE 
1699. Le Blane III., 121. Full margin. (3.) 


382. FRANCOIS VILLANI, Bishop of Tournay, after Lucas Fran- 
cois. Le Blanc III., 124. Closely trimmed. ~ 


VARIOUS ENGRAVERS 


383. JUDITH AND HOLOPHERNES. Line engraving by Cor- 
nelis Galle after P. P. Rubens. Dutuit VI. p. 34, No. 27. 
Second state; LA CHUTE DES REPROUVES. Line 
engraving by Jonas Suyderhoef after P. P. Rubens. Du- 
tuit VI. pp. 82/83, No. 127. From the Peoli Collection; 
TRIUMPH of GALATEA. Etched by N. Dorigny after 


> 
. a, 
is 


Second Session, Monday Evening, January 17th 


VARIOUS ENGRAVERS. (Continued) 


Raphael’s fresco painting in the Villa Farnese; THE 
NYMPH ERIGONE. Line engraving by C. Vermeulen 
after Guido Reni; VUE DE TIVOLI. Line engraving by 
Dequevauviller after Van der Werff. (5.) 


384. THE ADORATION OF THE MAGII. Engraved by Crispin 


de Passe. Very fine; CRESCENTIS AMORES after 
P. P. Rubens. Engraved by Cornelis Galle; LAND- 
SCAPE, Engraved by J. G. Wille; PEASANTS CON- 
VERSING IN A STABLE, Etcher unknown; WOMAN 
SEATED, HOLDING A JUG. Original-etching by C. 
bega; Dutuit LV. p. 20., 12. (a3) 


385. JUPITER SENDING OUT MERCURY TO BRING PSY- 


CHE TO OLYMPUS. From the Fable of Psyche by 
the Master B of the die. Bartsch XV., 67; THE VIR- 
GIN STANDING ON THE GLOBE, SURROUNDED 
BY ANGELS. Etching by Raphael Sciamonossi. 
Bartsch XVII., 86; APOLLO FLAYING MARSIAS. 
Engraving by Melchior Meier. 1581. Bartsch XVI. p. 
247. Laid down. From the T. Kerrick Collection; SI- 
LENUS. Engraving by Agostino Veneziano. Bartsch 
XV., 240. With Salamanca’s address. Duplicate of the 
Stadel’sche Institute, also from a collection not mentioned 
by Fagan. THREE MUSES. Engraving by Giorgio 
Ghisi after Primaticcio. Bartsch XV., 37. From the 
Griggs Collection. (53) 


386. A BACCHANALIAN. Line engraving by C. Faucci after P. 


P. Rubens; CARD PLAYERS. Line engraving by C. D. 
Jardinier after M. Valentin; A TRITON. Etching by 
J. Goupy after Salvator Rosa; DAY DREAMS. En- 
graving in mixed manner by John Ballin after A. Mac- 
Lean. Proof before letters on India paper; YES OR NO. 
Etching by A. Gravier after W. Oliver. Remarque proof 
on etching paper, slightly browned; OLD WOMAN 
WITH A BOOK. Etching by L. V. Campen. (6.) 


Second Session, Monday Evening, January 17th 


VERNET, JOSEPH 


387. FISHING. Seven Marine Views.. Engraved by Francisco 
Pedro. Ge) 


VIDAL, GERAUD 


388. L’AMANT SURANNE. Etching finished with the graver 
after Carle Van Loo. Fine impression but closely trimmed. 


VIEL, PIERRE 


389. DIANE AU BAIN. Line engraving after P. Mettay. Por- 
talis and Beraldi ILI. p. 617. In French mat. 


WARD, JAMES 


390. LIEUT. GENL. SIR ROBERT LAURIE. Mezzotint after 
Wm. Owen. Smith IV. p. 1450, No. 29. Second state, 


very fine, with wide margins. 


WALKER, JAMES 


391. HANNAH INSTRUCTING HER SON SAMUEL. Mezzo- 
tint after Rembrandt. Smith IV. p. 1438, No. 25. 


WALKER, WILLIAM 
392. THE ABERDEEN CABINET, deciding upon the expedi- 


tion to the Crimea. Engraving in mixed manner after 


John Gilbert, Print on plain paper, repaired. 


Second Session, Monday Evening, January 17th 


WASHBURN, CADWALLADER 
393. ‘THE following are original lithographs all printed on Eng- 


lish paper watermarked “D” in a diamond shaped frame 
and below it “Queen Laid.” They are all signed by the 
artist. To be offered separately. 


. BUILDING THE DOME 

THE DOORWAY 

THE ENTRANCE—LIBERAL ARTS BUILDING 
. THE FLAGSTAFF 

. SUNSHINE AND SHADOW 


Hoan > 


(WASHINGTON, GEORGE] 
394, PORTRAIT. Line engraving by Chevillet after Charles Wil- 


son Peale. Hart, 29. Fine impression with margin. 


395. PORTRAIT. Line engraving by T. Kelly after Gilbert Stuart. 
Hart, 656. ‘Tears in the margin. 


396. WASHINGTON AND HIS GENERALS. Engraving in 
mixed manner by A. H. Ritchie after his own drawing. 
Print colored by hand. With key. [Companion to No. 
397. | 


397. LADY WASHINGTON’S RECEPTION. Engraving in 
mixed manner by A. H. Ritchie after D. Huntington. 
Print colored by hand. [Companion to No. 896. | 


WATERCOLOR DRAWING 


398. ANGEL CARRYING A CHILD TO HEAVEN. Size 414 x 
614 inches. 


WATSON, JAMES 


399. MRS. COLLIER. Mezzotint after Joshua Reynolds. Smith 
IV. p. 1500, No. 382. Second state; fine impression with 


full margins. 


Second Session, Monday Evening, January 17th 


(WEBSTER, DANIEL] 


400. WEBSTER AT FRANKLIN, The Home of his Childhood. 


Lithograph after a Daguerreotype by Whipple. Laid 
down. 


WHISTLER, JAMES ABBOTT McNEILL 


401. LA RETAMEUSE. Painter-etching. One of the “Twelve 
etchings from Nature.” Kennedy, 14. Second state. 
Fine impression on thin Japanese paper. From the Drouet 
collection. 


402. READING IN BED. Painter-etching. Kennedy 28. Sec- 


ond state, fine impression on heavy Japanese paper. 


WIERIX, JEROME 


403. CHRIST ENTERING JERUSALEM. Alvin, 1594; the 
smaller plate; TWO SOLDIERS IN CONVERSATION | 
WITH A DRUMMER. Alvin, 1557; TWO PLATES 
OF THE VIRTUES AND VICES (Nos. 1 and 3) ; THE 
CRUCIFIXION AND THE ENTOMBMENT. (5.) 


404. B. IGNATIUS LOYOLA, FOUNDER OF THE ORDER OF 
THE JESUITS. Line engraving. Alvin, 1938. Very 


fine impression with big margin. 


WILLE, JEAN GEORGES 


405. TRICOTEUSE HOLLANDOISE. After F. Mieris. Le- 


Blanc, 64. Second state; LA CUISINIERE HOLLAN- 
DOISE. After Metzu. LeBlanc, 67. Second state. Line 
engravings. Both laid down. (25) 


406. MAURICE DE SAXE. Laine engraving after H. Rigaud. 
LeBlanc p. 95, No. 121. Second state; with the inscrip- 
tions. Fine early impression with margin. 


Second Session, Monday Evening, January 17th 


WILLE, JEAN GEORGES. (Continued) 


407. JOSEPH PARROCEL. Painter. Line engraving after H. Ri- 
gaud. LeBlanc pp. 101/102, No. 128. Second state; 
with all the inscriptions. Fine impression, with big mar- 


gin. 


WOODCUTS 


408. DIANA AND ACTEON, ATTRIBUTED TO PETER 


FLOTNER. Printed from two blocks, joined in the cen- 
ore. 


409. ILLUSTRATIONS TO THE NEW TESTAMENT. Wood- 
cuts by Virgil Solis with separate borders, some of which 
also bear Solis’? monogram. (14.) 


WOOLLETT, WILLIAM 


410. A VIEW OF THE ISLAND OF HUAHEINE; A TOUPA- 
POW WITH A CORPSE. Engravings after Hodges. 
Fagan, 81 and 88; A GAME OF CHESS WITH THE 
DEVIL. Etching by W. B. Annin after M. Retzsch. 
1831; DIANA AND HER NYMPHS SURPRISED BY 
ACTEON. Aquatinted etching by R. Earlom; ADOR- 
ING ANGEL. Line engraving by Antoni Oleszcynski 
after LeBrun. (5.) 


WORLIDGE, THOMAS 
411. TWO ANTIQUE GEMS. Etchings. (On a single sheet.) 


412. A COLLECTION OF 29 ETCHINGS AFTER ANTIQUE 
GEMS; many of the impressions with deckel edges. 
(29.) 


WORTHINGTON 


418. JOHN DALTON, THE EMINENT PHYSICIST. En- 
graved after Allen. Printed on India paper. Water- 
stained. 


Second Session, Monday Evening, January 17th 


WRENK, FRANZ 


414. JOSEPH GABRIEL FUGER, Senior Minister at Heilbronn. 
Mezzotint after H. F. Fiiger. Andresen II. p. '757, No. 14. 


Second state, with large margin. 


YACHTING 


415. THE FINISH of the American Cup Race off Sandy Hook. 
Sept. 16th, 1885, between the Sloop “Puritan” and the 
English Cutter “Genesta.” Cromolithograph after Wm. 
F. Halsall. Laid down. 


ZORN, ANDERS 
416. THREE SISTERS. 1913. Painter-etching. Not in Del- 


teil’s Catalogue. Signed proof in a warm brownish ink 


on Van Gelder paper. 


417. ELIN. 1918. Painter-etching. Not in Delteil’s Catalogue. 


Signed proof in a warm brownish ink on Van Gelder paper. 


418. THE FENCE. 1913. Painter-etching. Not in Delteil’s Cat- 


alogue. Signed proof in a warm brownish ink on Van 


Gelder paper. 


419. BURSECK. 1914. Painter-etching. Not in Delteil’s Cata- 


logue. Signed proof in a warm brownish ink on Van Gel- 


der paper. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEFR. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


ART AND LITERARY PROPERTY 
JEWELS AND PERSONAL EFFECTS OF EVERY 
DESCRIPTION 


IN CASES WHERE 


Pe BLIC SALES ARE EPFECTED 


A NOMINAL CHARGE ONLY WILL BE MADE 


THE AMERICAN ART ASSOCIATION 


MADISON SQUARE SOUTH 
NEW YORK 


TELEPHONE, 3346 GRAMERCY 


we 


COMPOSITION, PRESSWORK. 


AND BINDING BY 


1 | 


f 1916 Jan 17 NeAmL ¢ shes 
an hin engravings an 


ide 


See tete 


sor 


a 
ere) 
roe 


ey z ae = a 3 3 iheGens 


io epee 


Sei 


